JON PYLYPCHUK

[email protected] WWW.MIERGALLERY.COM 7277 SANTA MONICA BOULEVARD LOS ANGELES, CA, 90042 T: 323-498-5957 Pylypchuk is a multidisciplinary artist who works in painting, sculpture, installation and video. Working with simple materials (fake fur, wood, fabric, sheet metal, beer cans, electric light bulbs, polyurethane foam, etc.), Pylypchuk reinterprets the collage and bricolage practices derived from Art Brut. Often his ‘creatures’ draw upon the animal world to explore the frailty of human existence and social relationships. Pylypchuk’s characters often seem to have lost their way, appearing in a wounded condition, harmed by either themselves or by others. They combine a hearty dose of cynicism and anger at the unfairness of it all with a wicked sense of survivalist humor.

Since coming to international attention in the past 6 years he has exhibited in New York, Düsseldorf, Münster, London, Los Angeles, Cleveland, Paris, San Francisco, Miami, Tokyo, Montreal, Seoul, Guadalajara and St. Petersburg. His works are in the collections of the Los Angeles County Museum of Art, Los Angeles; The Museum of Contemporary Art, Los Angeles; the Hammer Museum, Los Angeles; the Museum of Modern Art, New York; The Saatchi Collection, London; The Museum of Old and New Art, Berriedale; and the Whitney Museum, New York.

Jon Pylypchuk was born in 1972 in Winnipeg, Canada. He studied at the University of Manitoba School of Art, where he co-founded the collective known as the Royal Art Lodge in 1996 with fellow artists Michael Dumontier, Marcel Dzama, Neil Farber, Drue Langlois and Adrian Williams. Its members were mostly graduates from the University of Manitoba, Canada who were united in their outsider status and who liked to break the unwritten rules of artistic production. They sent childlike drawings to the National Gallery of Canada, suggesting they exhibit them, and held all-night drawing sessions. In 1998 he moved to Los Angeles, where he is currently based. SELECTED WORKS Jon Pylypchuk Disco Sucks!, 2019 Handmade wood pedestal, stainless steel, found Christmas tree, volleyballs, black cue balls, LED lights, Christmas ornaments, Ring doorbell 88 x 37 x 37 in, 223.5 x 94 x 94 cm Jon Pylypchuk I have pink eye too, 2018 Bronze and enamel paint on wooden plinth 31 x 38 x 7 1/2 in, 78.7 x 96.5 x 19.1 cm (JPY18.020) Jon Pylypchuk Hey fuckface, the kids are here!, 2018 Spray Foam, Wood, Aerosol, Tires and Gloves 82 x 42 x 29 in, 208.3 x 106.7 x 73.7 cm Jon Pylypchuk American Moses, 2018 Bronze and enamel paint on wooden plinth 40 x 51 1/2 x 19 1/2 in, 101.6 x 130.8 x 49.5 cm Jon Pylypchuk Good morning tiger!, 2018 Bronze and enamel paint on wooden plinth 23 x 29 1/2 x 10 3/4 in, 58.4 x 74.9 x 27.3 cm Jon Pylypchuk I like your face, can I lick it?, 2018 Cast aluminum, acrylic paint, LED light bulbs 47 3/8 x 31 1/2 x 2 in, 120.3 x 80 x 5.1 cm Jon Pylypchuk They used to call me “the voidlord” now I go by jeff with a G, 2018. Cast bronze, light bulbs, spray paint, and enamel paint 25 x 20 3/4 x 2 in, 63.5 x 52.7 x 5.1 cm INSTALLATION VIEWS Installation view of Jon Pylypchuk, lost in your eyes, (August 23 – September 15, 2018) Nino Mier Gallery, Los Angeles, CA Installation View of Jon Pylypchuk American Moses (May 12–June 16, 2018) Nino Mier Gallery, Los Angeles, CA Installation View of Jon Pylypchuk American Moses (May 12–June 16, 2018) Nino Mier Gallery, Los Angeles, CA Installation View of Jon Pylypchuk American Moses (May 12–June 16, 2018) Nino Mier Gallery, Los Angeles, CA PRESS Novemner 9th, 2016 JON PYLYPCHUK: Darkness by Appointment Only A conversation with the L.A.-based mixed media artist behind our Nocturne Issue cover

Sitting amongst mixed media artist Jon Pylypchuk’s incarnations of his famed character sculptures made of stacked tires, as well as his automatic “face paintings” depicting large, slightly crestfallen eyes in his studio near downtown Los Angeles, I am struck by how the artist’s oversized black-rimmed glasses seem to mirror the open, playful nature of his creations. Born to a Ukrainian family in Winnipeg, Canada, Pylypchuk made a name for himself with his whimsical, storybook-like characters composed of fake fur and wood but displaying occasional sexual and violent tendencies—yet always portrayed with a touch of levity.

Having exhibited at the UCLA Hammer Museum, the Royal Academy in London, and represented by Friedrich Petzel in New York, Pylypchuk’s trajectory in the art world is impressive, yet growing up he never saw himself pursuing a career in art. Rather he dreamed of being a musician, but after learning that he was failing many of his undergraduate classes at the University of Manitoba, the school pushed him into an art class with the promise of clearing his record: “I never had any interest in art.” He explains, “I had a friend who was taking an Introduction to Art class—I had failed pretty much every class in col- lege—they said that if I could get a ‘B’ in the class, I could go into the art school. I realized that all of the things I was trying to do in music, the emotions I was trying to convey, just didn’t translate. But with art, it was a whole different thing.” Finally finding a means of expression that worked for him, Pylypchuk began making sculptures with his friends, and upon graduation became a member of “Winnipeg institution” artist collective The Royal Art Lodge (1996–2008) founded by Adrian Williams, Neil Farber, Michael Dumontier, Marcel Dzama, and Drue Langlois.

He only stayed with the group for a few years as his individual work began to take a more independent shape, and he soon found himself dealing with the anxiety surrounding the aging and death of his family. Pylypchuk remembers, “My mother was 44 when I was born. My father was 48. She was the youngest of her family, so all of her siblings and family started dying when I was a kid. They constantly reminded me that they were going to die. As a kid, it was just normal because everyone around me was dying. It just seemed totally normal that my parents would, too. I worried about it all the time. A lot of that translated into things that I was making.” He started to create sculptural characters inspired by his family situation as well as his parents’ arguments, finding the dichotomy of the situational darkness and the cuteness of the characters intriguing. He recalls that his parents “fought all of the time. They were like dirt farmers from Ukraine who got some free land in Canada. They moved to Canada and realized that the land was shit. So, they drank. They fought. Whatever was happening in my life like that, obviously it didn’t affect me on a day-to-day basis, but it was in there all the time. I realized that when I started making these characters, I could make them interact in the way I saw people around me interact. I just thought that the juxtaposition of the cute with this evil was sort of nice.” Faces (and especially eyes) are often one of the first means of connection between people. eW are one of the only species who value eye contact as a relationship-builder, and not a threat. When I ask Py- lypchuk the reason behind centering his oil paintings around colossal eyes, he responds, “I think it had something to do with when my father died. When the funeral director showed him to us, it almost looked like they had overfilled him with embalming fluid. It was really weird. So, my wife and I decided that we wanted to have a closed casket because he wasn’t a vain man, but he definitely wanted to look good. He asked us to have a ceremony with a priest from the church he had gone to. We got into it with the priest over the closed casket. He’s like, “There’s no way to bless the body if the water doesn’t touch him.” I’m like,” Are you kidding me? God’s water can’t go through wood?” I was under a fair amount of stress and didn’t want to continue fighting the priest. I wanted to support my dad’s wishes to have that type of funer- al. At some point, I kind of gave up. All the while, I kept thinking to myself, I should have stood up for him more. I think rebuilding these faces and trying to make them beautiful is me trying to rebuild his face.”

While certainly a storyteller in his work, Pylypchuk is also a builder, often tapping into his subconscious mind to construct many of his sculptures, including his most recent tire creations. “I’m not thinking about anything,” he says, “I’ll take a second and look at it and I’ll go, ‘No, that’s not how it goes.’ I’ll take it apart, stack it again, and again, and realize that this is the order that makes the most sense visually and com- positionally. I think that the sculptures work in a similar way to the way a hand works in an automatic painting. The less you think about it, the more successful you’ll end up being.”

In 2004, Tom Morton, writing for Frieze said, “Chuckling at Pylypchuk’s sorry, hilarious creatures (which are, of course, avatars of our own sorry, hilarious selves) embroils us in a connectedness that, far from being abstract, we feel in the creasing of our lips or in the wobbling throb of a belly laugh.” This assess- ment feels particularly apt when, amidst the tottering tires, and wide, abstract eyes, Pylypchuk tells me about the founding of Grice Bench two years ago—a gallery in downtown Los Angeles—and the networks that have developed around it: “It’s like a family.” Pylypchuk tells me, “It is the community I was looking for.” January 14th, 2009 Artist of the week 24: Jon Pylypchuk Jessica Lack considers the menacing but hopeful work of Jon Pylypchuk whose freakish outsid- ers reflect our own physical and spiritual frailties

A detail from Jon Pylypchuk’s ‘your name will be the last thing i say when i die’. Photo- graph: PR Jon Pylypchuk’s army of moth-eaten sculptures and collages could be described as conduits for our emo- tions. Battered, torn, and misshapen, Pylypchuk’s freakish cast of creatures seem to reflect the hopeless- ness of the human condition.

They sit on wooden boards contemplating their physical limitations or balance precariously on all-too-thin legs. Each animal is constructed out of bits of fabric and twigs. Spindly limbs hold up bulging bodies, and googly eyes are glued onto swollen heads sprouting tufts of fur. They are so odd and threadbare that it is impossible to see them as anything but endearing. As a nation we are prone to champion the underdog, and these scrappy creatures need all the cheerleading they can get. Yet they are not the mangy misfits they first appear to be. They can be menacing. At times it is impossible not to feel implicated in their mis- ery while at others they are clearly laughing at us. March 2011 Jon Pylypchuk By James D. Campbell

Jon Pylypchuk The War 2009 Mixed Media Dimensions variable Montreal Museum of Contemporary Art, Canada

For both the normals and neurasthenics among us, Jon Pylypchuk’s retrospective at once raided the icebox of our worst unconscious fears and raised the hairs on my neck with its swift audacity. In a universe undreamt of by both the Muppets and Mister Rogers, the exhibition took a walk on the wild side of creative whimsy, driving a stake through sense and sensibility with the antics of the artist’s unruly anthropomorphs.

In the haunting press a weight through life. and I will watch this crush you (2006), the latent menace of a shantyown stakes its claim from the get-go and doesn’t lose its grip. Rambling around its outer perimeter, I felt as though I were loitering or malingering, up to something shady, much like the puppet-like inhabitants themselves, squaring off in High Noon duels or just waiting for something untoward to happen. The sheer ricketiness of the structures made me think of an inner city fraught with pathos and a weird promise like an anti-morality fable come to life. This is a work of inimitable and almost unbearable pathos, a shantytown of the human soul drawn, quartered and hung out to dry somewhere between Saturday Night Live’s old but prismatic ‘Mr. Bill’ torture routine (a parody of children’s television) and the local crackhouse. But it is also an upscale DIV sinkhole of the psy­che, a hellhole like no other. Pylypchuk employs scraps of sharpened wood, old fabric, felt and su­perglue to build a shabby environ- ment in which hopelessly dishevelled fabric dolls enact violent rituals as old as the world, like wolves in sheep’s clothing. A wily bricoleur, he works his found ma­terials into a frenzy of downscale representation. Then there was the luminous bestiary that populated The War (2009), in which a legion of cloacal faces of necromantic gods sent a real shiver, as though they were emissaries from some exotic locale south of Tijuana. The eldritch abomination Pylypchuk calls Fire Crater face and the equally magisterial Fire Teeth (both 2010), mounted on the wall in such a way as to suggest a demented monkey crouched to spring down on the viewer, induced a rare frisson. For me it recalled William Hope Hodgson’s visionary masterpiece of dark fantasy The Night Land (1912), a futuristic evocation of a time when the sun is dying and the last inhabitants of earth are be- sieged by the spawn of darkness. Pylypchuk’s inhuman presences evoke Ingmar Bergman as a Looney Tunes cartoon character on ecstasy.

It is difficult not to look at this work without the suspicion that the artist looked long and hard at the works of Francisco Goya and Otto Dix -and Yves Tanguy’s Multiplication of the Arcs (1956). Curator Klaus Kertess once described Pylypchuk’s strange medley as a ‘conflation of Disney and late Goya -a teddy bear’s nightmare.’ This is still true. some exotic locale south of Tijuana. The eldritch abomination Pylypchuk calls Fire Crater face and the equally magisterial Fire Teeth (both 2010), mounted on the wall in such a way as to suggest a de- mented monkey crouched to spring down on the viewer, induced a rare frisson. For me it recalled William Hope Hodgson’s visionary masterpiece of dark fantasy The Night Land (1912), a futuristic evocation of a time when the sun is dying and the last inhabitants of earth are besieged by the spawn of darkness. Py- lypchuk’s inhuman presences evoke Ingmar Bergman as a Looney Tunes cartoon character on ecstasy. It is difficult not to look at this work without the suspicion that the artist looked long and hard at the works of Francisco Goya and Otto Dix - and Yves Tanguy’s Multiplication of the Arcs (1956). Curator Klaus Kertess once described Pylypchuk’s strange medley as a ‘conflation of Disney and late Goya -a teddy bear’s nightmare.’ This is still true.

The hardcore whimsy and wholesale hand­made aesthetic in this work finds a humorous touchstone and resonance in the awkward and endearingly sculptured birds in Pylypchuk’s self­same grouping. Those small, white-enamelled clay birds speak of a very personal ethics of making. Pylypchuk has conjured funk, squalor and a certain underlying menace from anthro­pomorphic birdlike beings that speak potently of estrangement, even as they become tacit sur­rogates for our own tattered selves. Both their pathos and bathos evoked an overwhelmingly louche cosmos not so very far from home.

James D. Campbell May 12th, 2006 One Scene, but Plenty of Pathos By David Pagel In a star-struck, celebrityobsessed culture, it’s heartening to see Jonathan Pylypchuk’s three short mov- ies at China Art Objects Galleries. None includes a single star, lasts more than a few minutes or appears to have cost more than $50 to script, stage and shoot. Yet the pathos Pylypchuk wrangles from his one- scene dramas is potent and complex, including sorrow, guilt, pity, contempt, anger, bemusement and confusion.

The materials Pylypchuk uses are simple: scraps of wood, fabric and carpet padding make up the doll- house-size sets. The cinematography is point-blank, the lighting bare bones, the dialogue mundane, the editing uninspired, the soundtracks pirated and the stories pedestrian. The actors steal the show.

Each is a puppet made from a real hot dog, broken chopsticks run through a pencil sharpener, twisted pipe cleaners, homemade clothing and other odds-and-ends common to the basement workshops of do- it-yourself crafters. Despite the scrappy props and cliched scenes, the movies are captivating.

Imagine the Mr. Bill skit from “Saturday Night Live” crossed with a carnivore version of Mr. Potato Head.

In one movie, benign comedy turns into sidesplitting slapstick before turning into shameful violence in a movie about a confrontation on a nude beach. Another, “Dating Game,” restages the 1960s game show as a corny farce that shares much with today’s reality-based programming.

And “Meals on Wheels” lays bare the harrowing intimacies of a low-wage, service-based economy caught in a downward spiral. Suffused with fear, helplessness and repressed rage, it raises profoundly human questions about family relationships and the viciousness of life in a utilitarian society.

Also displayed are Pylypchuk’s hastily sketched storyboards and the sets he built for his movies (with rubber hot dogs in place of real ones). The drawings are mere souvenirs.

But the funky dioramas function as 3-D stills. They invite even greater interpretive freedom than the mov- ies, allowing you to imagine stories that make you laugh and cry as you scratch your head. If Hollywood were as efficient as Pylypchuk, there would be no box office slump.

China Art Objects Galleries, 933 Chung King Road, (213) 613-0384, through June 6. Closed Sundays, Mondays and Tuesdays. November 2007 Jonathan Pylypchuk FRIEDRICH PETZEL GALLERY Jonathan Pylypchuk’s fourth solo exhibition at Friedrich Petzel Gal­lery was arguably his most far-reach- ing to date. Pylypchuk’s previous gallery outings have concentrated on diminutive , puppetlike charac­ ters fabricated from old clothes, bits of wood, and other items ticketed for the junk pile. And while these remained prominent at Petzel, the Canadian artist and former Royal Art Lodge member here provided his creatures with a gallery-spanning habitat of rickety wood. Once free-floating entities, Pylypchuk’s charac- ters thereby became actors in a quasi-narrative diorama.

But despite its expansion in scale, Pylypchuk’s shabby, scacological work remains intention­ally scrappy; ultimately, the addition of an architectural element only added to this effect. Protruding nails pointed chis way and that, and slats of splintered wood could have been ham­mered just as precisely blindfolded-Py- lypchuk is doggedly antigrandiose, resolutely non­precious. Materials for the installation were scavenged in Detroit (although there’s nothing particularly Detroit-specific about them), where a different version was originally installed in the Museum of Contemporary Arc. They were a typically Pylypchukian haul of throw- aways: asymmetrical and threadbare castoffs, mutilated shards of wood, Budweiser cans. The scene felt a little like the minimalist soundstage set of Lars von Trier’s 2003 film Dogvil/e, although the Danish director’s allegory takes places in Colorado, whereas Pylypchuk’s ramshackle housing stock and bawdy characters seem modeled on poverty-stricken rowns in the rural American South. Shutters were fastened arbitrarily to structures that threatened to disintegrate with a gentle nudge.

Fantastic human-animal hybrids were prominent in Pylypchuk’s cartoonish Hooverville-there were pan- da-people, elephant-people, and bird-people. Their revelry in body fluids located them squarely a·mong the lowest of the low. They pissed dried glue, fished in murky, drool-like puddles, and hunched forward sadly. The entire installa­tion, titled Press a weight through life, and l will watch this crush you, 2007, was simply plopped down on the floor, exuding pathos. On the rough side of town, a gang toting miniature Bud cans congregated with mute reverence around a scattering of empties. A balding blond sock-for- head with bugged-our eyes and skinny wooden legs guarded his dwelling with a haughty arm propped aloft by the door frame, gray fluid oozing from his matchstick-thin phallus.The southern edge of Py- lypchuk’s dystopia seemed slightly more family-oriented: two adult protectors charmingly guarded tiny youths, although a nearby yokel pissing an elegant arc against the facade of a house polluted the idyllic scene. There seem ro be two tactics at play in Pylypchuk’s brand of slap­stick craft art: scavenging, and rhe reli- ance on squalid iconography. To be sure, scavenging and what happens to fall under the latter designa­ tion are both products of poverty. The worn nonurility of Pylypchuk’s secondhand materials seems co demonstrate that his fondness for them is motivated by their barhos . The act of claiming and finding use for rhe unwanted and already consumed detritus of American culture (Pylypchuk currently works in Los Angeles) is an inherently politicized act, one that critiques a culture of waste and refuses the artist-as-vir- tuoso stereotype. Yet Pylypchuk’s work eludes designa­tion as “critical,” largely because of its flippant humor. It is as if the artist is reluctant to truly activate his found materials by imbuing them with specific signification. When it works, then, it’s good mainly for a chuckle. – Nick Stillman February 21, 2003

Friedrich Petzel Gallery

535 West 22nd Street

Chelsea

Through March 1

Imagine a former Muppet maker down on his luck, homeless but still working with whatever raw materials he can find on the street, tapping into feelings of abandonment, hurt, rage and fear. That’s the effect of Jon Pylypchuk’s zany assemblages and collages in which vulnerable anthro- pomorphic animals struggle to survive a terrifying universe.

Rudely cobbled from raw pieces of wood, printed fabrics, fur, rags, glue and paint, Mr. Pylyp- chuk’s sculptures hark back to the physically vehement sculptures of Picasso and the Surrealists while exuding their own darkly hilarious grunge esthetic. A fat, black ratlike creature lies on a bed of two-by-fours in ‘’Dying and a Belly Full of Anger.’’ Two small birdlike animals with missing legs sitting on palettes wonder, ‘’Now How Will We Get Around?’’

An untitled threesome includes a mangy cat in a knife fight with a blocky dwarf wearing striped spandex pants, watched by a seated cat with both skinny rear legs in bloody bandages and splints. A terrible co-dependency is suggested in ‘’Tree Puking Into Bird’s Mouth,’’ in which a fur- ry-trunked, 10-foot-tall tree with a head of stuffed black fabric bends over and spews resin down on a rubbery, pneumatic avian creature looking up with infantile need.

All of this may sound unrealistically theatrical, but it resonates in a world sometimes so scarily loony you don’t know whether to laugh or cry.

KEN JOHNSON September 21, 2007

JONATHAN PYLYPCHUK

Friedrich Petzel

535 West 22nd Street, Chelsea

Through Sept. 29

The decade-old Winnipeg-based art collective known as the Royal Art Lodge has popularized a coyly rustic strain of Surrealism, exemplified by Marcel Dzama’s earth-toned ink drawings of mischievous forest creatures. Over the last few years, a founding member, Jonathan Pylypchuk, has wisely staked out his own, more abject territory. For his fourth solo at Petzel, he has recon- figured an installation originally commissioned by Detroit’s Museum of Contemporary Art for its inaugural exhibition, “Meditations on an Emergency,” last fall.

The work, “Push a weight through the world, and I will watch this crush you,” has been down- sized to fit in the smaller of Petzel’s two galleries, but it is nevertheless arresting. Made of materials scavenged from city streets, it is a smaller-than-lifesize shantytown with puppetlike inhabitants that owe as much to Jim Henson as to Mike Kelley. (Red Grooms’s sculptural en- vironments also come to mind.) Stuffed figures with splintery legs and wide-set, reptilian eyes double-fist miniature beer cans, hunch over crudely fashioned crack pipes and urinate sickly puddles of resin.

As a reflection on the social and physical consequences of “white flight,” the piece can’t possi- bly have the effect in Chelsea that it did in a onetime abandoned car dealership in Detroit. Still, Mr. Pylypchuk has fashioned an intricate crazy quilt from little more than old socks and flannels, picking through the ruins of a troubled American city while paying tribute to the scrappiness of its residents.

KAREN ROSENBERG CURRICULUM VITAE

JON PYLYPCHUK

Born 1972 in Winnipeg, Canada Lives and works in Los Angeles

EDUCATION

2001 M.F.A., University of California, Los Angeles 1997 B.F.A., University of Manitoba 1996 Yale University School of Music and Art, New Haven

SELECTED SOLO SHOWS

2018 American Moses, Nino Mier Gallery, Los Angeles US 2017 Like an eagle rising from a Phoenix, Eric Hussenot, Paris FR 2016 i am resuming my place at the top, by force, so suck it!, Páramo Galeria, Guadalajara, Jalisco, México 2015 Summer Show, Petzel Gallery, New York Feed Your Baby Valium, China Art Objects, Los Angeles 2013 after the royal art lodge, Galerie Division, Montreal 2012 Sydney Biennial, Sydney, Australia I won’t give up on you, Fred Snitzer Gallery, Miami for all the love in the world, Tomio Koyama, Tokyo 2011 In the absence of human bastards, China Art Object Galleries, Los Angeles Love, my reluctant but faithful enemy, Galerie Hussenot, Paris 2010 Old Drunk Paintings and Other Works of Fine Art, Frederic Snitzer Gallery, Miami Jon Pylypchuk, China Art Object Galleries, Los Angeles Jon Pylypchuk, Musée d’art contemporain de Montréal, Montréal 2009 Jon Pylypchuk, Blaffer Gallery, The Art Museum of The University of Houston, Houston, TX Jon Pylypchuk, Sies + Höke Galerie, Düsseldorf Blaffer Gallery, The Art Museum of the University of Houston, Houston The War, Friedrich Petzel Gallery, New York Experimental Art and Culture: Jon Pylypchuk, The Art Gallery of Calgary, Calgary Jon Pylypchuk Ausstellungshalle zeitgenössische Kunst Münster, Münster Jon Pylypchuk, Alison Jacques Gallery, London 2008 Jon Pylypchuk, China Art Objects Galleries, Los Angeles Jon Pylypchuk, City of Zurich Theatre in association with the Migros Museum, Switzerland 2007 Press a weight through life, and I will watch this crush you, Friedrich Petzel Gallery, New York Jon Pylypchuk, Galerie Ghislaine Hussenot, Paris Jon Pylypchuk, Jack Hanley Gallery, San Francisco Jon Pylypchuk, Sies + Höke Galerie, Dusseldorf 2006 Jon Pylypchuk, Tomio Koyama Gallery, Tokyo Jon Pylypchuk, China Art Objects Galleries, Los Angeles you are all too close to dropping off now, Alison Jacques Gallery, London you asked me to come and see your routine, you call this a fucking routine? Curve: Jon Pylypchuk, Museum of Contemporary Art, Cleveland Jon Pylypchuk, Massimo de Carlo, Milan

2005 i have thought deep into this trouble, Friedrich Petzel Gallery, New York Jon Pylypchuk, Galerie Ghislaine Hussenot, Paris 2004 i will live with my hands like this, Massimo de Carlo, Milan you won’t live past 30 (with Adrian Williams), China Art Objects, Los Angeles you are the only one left, Galleri Christina Wilson, Copenhagen Jon Pylypchuk, Locust Projects, Miami Erections Pointing at Stars and Angels, aspreyjacques, London 2003 Jon Pylypchuk and Diena Georgetti, Hamish McKay Gallery, Wellington, New Zealand Jon Pylypchuk, Tomio Koyama, Tokyo\ i will plug your wound to protect everyone now / plug everyone now, Galerie Borgmann-Nathusius, Cologne and now occasionally, and reluctantly, i lift my head from where it hangs in shame, Friedrich Petzel Gallery, New York 2002 if wishes were horses, China Art Objects, Los Angeles 2001 don’t let me down / this is all you are allowed, Galerie Borgmann- Nathusius, Cologne the crying, no arms, mournful thoughts society, Friedrich Petzel Gallery, New York (cat.) 2000 how to live to 100, China Art Objects Galleries, Los Angeles 1999 one day art sale, China Art Objects Galleries, Los Angeles

SELECTED GROUP SHOWS

2017 SomeBodies, Petzel Gallery, New York The Inner Skin: Art and Shame, MARTa Herford, Herford Concrete Island. Venus, Los Angeles Heat Wave. Curated by Dylan Brant. Untied Talent Agency Artist Space, Los Angeles 2016 Wasteland, Galerie Thaddaeus Ropac, Paris 2015 (Performance) Kisk, Hammer Museum of Art, Los Angeles Group Exhibition, Blum and Poe, Los Angeles Under Construction, Páramo Galeria, Guadalajara, Jalisco, México Sweet Sixteen, China Art Objects Galleries, Los Angeles Seinfeld (a show about nothing), Fredric Snitzer Gallery, Miami 2014 Person, Place or Thing: Works on Paper By Over 50 Artists, Kornfeld Galerie, Berlin Split Milk, Armory Center for the Arts, Pasadena Death Ship: A Tribute to HC Westerman, The Pit, Los Angeles Not for all my little words, Marc Straus, New York Dramedy, Fort Worth Contemporary Arts, Fort Worth 2013 Pet Shapes, China Art Objects Galleries, Los Angeles True Believers, Curated by Adam D. Miller, Max Presnell, Jason Ramos, Torrance Art Museum, CA My Winnipeg: The Artist’s Choice, Plug In Institute of Contemporary Arts, Winnipeg, Canada After the Royal Art Lodge, Galerie Division, Montreal, Canada 2012 My Winnipeg: There’s no place like home, Plug In ICA, Winnipeg, Canada Flights from Wonder, Santa Barbara Contemporary Arts Forum, Santa Barbara Created Worlds and Altered Histories, JK Gallery, Los Angeles 2011 Flights From Wonder, Santa Barbara Contemporary Arts Forum, Santa Barbara 2010 Inauguration of China Art Objects in Culver City, China Art Objects, Los Angeles Paper, Frederic Snitzer Gallery, Miami The Drawing Room, Annet Gelink Gallery, Amsterdam, Netherlands

Knock Knock: Who’s There? That Joke Isn’t Funny Anymore, Fred Torres Collaborations, New York 2009 The Curse of Ceramics, China Art Objects Gallery, Los Angeles Compass in Hand: The Judith Rothschild Foundation Contemporary Drawings Collection Gift, Museum of Modern Art, New York Wonderland – Through the Looking Glass, KadE Kunsthal, Amersfoort (cat.) Second Nature: The Valentine-Adelson Collection, Hammer Museum, Los Angeles Group Show, The Art Gallery of Calgary, Canada 2008 Emerson vs Nietzshce, China Art Objects Galleries at Cottage Home, Los Angeles Lustwarande 08, Wanderland, Fundament Foundation, Tilburg The Program, Modern Art Museum, Fort Worth, Dallas 2009 Ausstellungshalle zietgenössische, Kunst Münster, Münster Cult Fiction, Tullie House, Carlisle Cult Fiction, Aberystwyth Art Gallery, Aberystwyth The unruly and the humorous, Angles Gallery, Los Angeles 2007 The Lath Picture Show, Friedrich Petzel Gallery, New Phantasmania, Kemper Museum of Contemporary Art, Kansas City Cult Fiction, Hayward Gallery, London (traveling exhibition) Cult Fiction, The New Art Gallery, Walsall, England Cult Fiction, City Art Gallery, Leeds Final Exhibition at 4 Clifford Street, Alison Jacques Gallery, London, England Poetics Country, Ferenbalm-Gurbru Station, Karlsruhe, Germany USA Today: New American Art from The Saatchi Gallery, The State Hermitage Museum, St. Petersburg, Russia 2006 USA Today: New American Art from the Saatchi Gallery, Royal Academy of Arts, London Meditations in an Emergency, Museum of Contemporary Art Detroit Scarecrow, Evangelos Averoff Museum, Metsovo, Greece Nightmares of Summer, Marvelli Gallery Humor Me, Kansas City Art Institute 2005 Looking at Words: The Formal Use of Text in Modern and Contemporary Works on Paper, Andrea Rosen Gallery, New York Gallery Exchange, Bowie Van Valen, Amsterdam Desired Constellations, Daniel Reich Gallery, New York Hanging by a Thread, Moore Space, Miami 2004 You won’t live past 30, two-person show with Adrian Williams, China Art Object Galleries, Los Angeles The Royal Art Lodge: Ask the Dust, Museum of Contemporary Art, Los Angeles The Royal Art Lodge: Ask the Dust, The Elaine L. Jacob Gallery, Wayne State University, Detroit 3 Rooms 3 Artists, Alison Jacques Gallery, London Dessins et Des Autres, Gallerie Anne De Villepoix, Paris 2003 Project room, Tomio Koyama Gallery, Tokyo Atto Primo, Studio Massimo De Carlo, Milan Rendered: Works on paper from 46 artists, Sara Metlzer Gallery, New York Some Things We Like, Asprey Jacques, London The Royal Art Lodge: Ask the Dust, The Drawing Center, New York The Royal Art Lodge: Ask the Dust, Seoul Museum of Art, Seoul, Korea The Royal Art Lodge: Ask the Dust, The Power Plant, Toronto

The Royal Art Lodge: Ask the Dust, De Vleeshal, Middleburg, Netherlands Works for Giovanni, China Art Objects Galleries, Los Angeles 2002 Stranger Than Fiction, Nylon, London I’m from Orange County and I Drink Johnny Walker Red, Gallerie Julius Hummel, Vienna Necessary Fictions, De Chiara, New York The Dubrow Biennial, Kagan Martos Gallery, New York 21 Paintings from L.A., Robert V. Fullerton Art Museum, Cal State University, San Bernadino. Curated by James Gobel. Drive By, Reynolds Gallery, Richmond. Curated by Katie Brennan Fantasyland, D’Amelio Terras, New York Song Poems, Angstrom Gallery, Dallas 2001 Kim Fisher, David Korty, JP Munro, Jon Pylypchuk, Eric Wesley, China Art Objects, Los Angeles Thesis Show, Dickson Art Centre, Los Angeles Paper, Galerie Borgmann, Nathusius, Cologne Song Poems, curated by Stephen Hull, Cohan, Leslie and Browne, New York Snapshot: New Art from Los Angeles, UCLA Hammer Museum; Museum of Contemporary Art, Miami Michael Dumontier, Jonathan Pylypchuk, Adrian Williams, The Living Room, Santa Monica Cancelled Art Fair!, China Art Objects, Los Angeles MFA Thesis Show #2, New Wight Gallery, Los Angeles China Art Objects Gallery, Los Angeles, CA 2000 Project # 0004, Friedrich Petzel Gallery, New York China Art Objects, Sadie Coles HQ, London New School, works on paper, inc. Los Angeles Circles, ZKM Museum, Karlsruhe 1997 Royal Art Lodge, Winnipeg Drawings from the Royal Art Lodge, University of Houston Fresh Popped, Plug in Gallery, Winnipeg

BIBLIOGRAPHY

2016 Nimptsch, Emily, “John Pylypchuck: Darkness by Appointment Only,” FLAUNT, 2016 2015 Garrand, Janine, “Imagine, if you will, for once, that nothing is lost…” FLAUNT, July 2015. Laster, Paul “8 Things to Do in the New York Art World Before July 3,” New York Observer, June 29, 2015. Rothman, Tibby, LA stories, Wallpaper*, February 2015, pp. 134-143. 2013 Grotjahn, Mark, Shame, Sociality and Success, Mousse Magazine, February 2013. 2011 Campbell, James D., Jon Pylypchuk, frieze, Issue 137, March 2011, p. 144 (ill.). 2010 Jon Pylypchuk, Musée d'Art Contemporain de Montréal, exhibition catalogue, 2010 Kirkpatrick, Gail B., John Pylypchuk, D.A.P., Book Reviews, 2010. Britt, Douglas, On View, Houston Chronicle, February 4, 2010. John Pylypchuk, Houston Lifestyles & Homes, Reviews, January 2010. 2009 Klaasmeyer, Kelly, & Troy Schulze, Art Capsules, Houston Press, p.33, Nov 12-18, 2009. Dumas, Brittni, Art. Love. Politics., Houston Arts, The Arts, September 9 2009. Bowen, Jeffrey, Blaffer Exhibits Explore Consumerism, Relationships and War, University of Houston press, p.8, August 2009. Bowen, Jeffrey, Blaffer Gallery presents Josephine Meckseper and Jon Pylypchuk, re-title.com, exhibitions, September 12- November 14 2009. Krusleski, Sarah, Gallery displays differing styles, The daily cougar, 2009.

Golden, Michael, Eye on the East End/Third Ward, Houston Chronicle online, August 14 2009. Regine, Just sit back and recount the violence of one year, We make money, not art, February 4 2009. Klaasmeyer, Kelly, Animal Art, Houston Press, November 5-11, 2009, p. 34. Brit, Douglas, Unsettling works are order of the day, Houston Chronicle, September 11, 2009, p.E2 Museum Previews: Jon Pylypchuk, Art in America Annual Guide to Galleries, Museum, Artists, August 2009, p.34 Hagenaars, Hanne, Gijs Assmann over keramiek, Mister Motley, Nummer 22, p.38 Danby, Charles, Jon Pylypchuk, FlashArt, March – April 2009, p. 86 Coxhead, Gabriel, Time Out London, January 21, 2009 Lack, Jessica, Guardian Guide, January 3-9, 2009, p. 39 Lack, Jessica, Artist of the Week, www.guardian.co.uk, January 14, 2009 2008 Enright, Robert, Pressing a Weight Through Life, Border Crossings, October 2008, Issue No. 107, pp. 32-46 2007 Mahony, Emma, Jon Pylypchuk, Cult Fiction, Hayward Gallery Publishing, 2007, pp.66-67 & 92 2006 USA Today: New American Art from The Saatchi Gallery exhibition catalogue, Royal Academy of Arts, 2006, p. 300-311 Honigman, Ana Finel, Jon Pylypchuk in Conversation with Ana Finel Honigman, The Saatchi Gallery Daily Magazine Online, November 2, 2006. Litt, Steven, Jon Pylypchuk: Museum of Contemporary Cleveland, Canadian Art, Fall 2006, p. 135. Frazer, Joe, Jon Pylypchuk, Flash Art, May – June, 2006, p. 124 Niemi, Ilona, Humor Me: Kansas City, Art Papers, May/June 2006, p. 60 Pagel, David, One scene, but plenty of pathos, Los Angeles Times, May 12, 2006 Litt, Steven, Installation Raises Provocative Issues, The Plain Dealer, May 2, 2006 Walsh, Meeka, The Winnipeg Alphabestiary: The Many and the Marvellous, BorderCrossings, vol.25, #1, issue No. 97, March, 2006, pp. 52- 85. Forest, Tim, Art & Antiques, Mayfair & St. James’s Life, April, 2006, p. 10 Enright, Robert & Maddin, Guy, City Report: Winnipeg, Frieze, March, 2006, p.144- 151 Brown, Neal, Cuddly toys on crack, First Post, March 2006. Neil, Jonathan T.D., ars nova, Modern Painters, March 2006. Jon Pylypchuk, Kultureflash, No. 157, March 2006. Enright, Robert, Return of the Crazy Gang, ArtReview, March, 2006, pp. 64-69. Thorson, Alice, ‘Humor Me’ is Heavier Than it Looks, The Kansas City Star, February 23, 2006, p. 30. 2005 Buck, Louisa, Young Germans take over De La Cruz Mansion, The Art Newspaper, December 3, 2005, p. 6. Princenthal, Nancy, Jon Pylypchuk at Friedrich Petzel, Art in America, December 2005, pp. 142- 143. Saltz, Jerry, Ups and Downs, The Village Voice, September 23, 2005. Yablonsky, Linda, The Wry Appeal of Dzama’s Severed Heads, Pylypchuk’s Sad Cats, Bloomberg.com (http://www.bloomberg.com/news/muse.html), September 30, 2005. Tully, Judd, Making it Personal, Artforum, September 2005, p. 159. Yablonsky, Linda, Storm und Drang, Artforum.com, September 14, 2005. Smith, Roberta, Art in Review, The New York Times, August 5, 2005. Yablonsky, Linda, Sticky Situation, ArtNews, April 2005, p. 107. Harper, Paula, Dynamic Domesticity, Art in America, December 2005, p. 75. Jon Pylypchuk: Drawings, KULT, November 2005, p. 99-109.

Houpt, Simon, In Snow’s Wake a New Generation of Canadian Artists Take Manhattan, The Globe and Mail, October 5, 1990, p. R1. 2004 Nelson, Arty, Canadian Club, The Royal Art Lodge Spikes LA Scene, LA Weekly, December, p. 55. Jon Pylypchuk, Vitals, September 2004, p. 222. Morton, Tom, Jon Pylypchuck, Asprey Jacques, London, Frieze, issue no. 83, May 2004, pp. 104- 105. Einspruch, Franklin, Horrible prettiness, Street, April 9-15, 2004, p. 53. Forrest, Tim, Not for the Faint-hearted, Mayfair Life, March, p. 16. Burnett, Craig, Jon Pylypchuk, Art Monthly, March, p. 29. Wilsher, Mark, Jon Pylypchuk: Erections Pointing at Stars and Angels, What’s on in London, March 3-10, p. 28. Comer, Martin, Jon Pylypchuk, Time Out, March 3-10. Gonzalez, Veronica and Stapleton, Lara, Juncture, Soft Skull Press, New York, 2003, p. 155. 2003 Pollack, Barbara, The New Visionaries, Artnews, December, p. 92-97. Duponchelle, Valérie, L’Europe en pleine fiévre contemporainé, Le Figaro, November 21, p. 32- 33. Murray, Derek, Jon Pylypchuk at Friedrich Petzel, Art in America, October 2003, p. 128. Jon Pylypchuk, artnet.com, October 23, 2003 Trainor, James, Winnipeg on the Hudson, Border Crossings, issue no. 87, vol. 22, 2003, pp. 36-47. Ask the Dusk, exhibition catalogue from The Royal Art Lodge, pp. 94-97. Dyer, Richard, News, London, contemporary, issue 55, September, p. 14-15. Sculpture Forever, Flash Art, July - September 2003, no. 231, p. 106. The Royal Art Lodge, Canadian Art, Summer 2003, pp. 88-89. Dunn, Melissa, and Charles Gute, The Royal Art Lodge: Ask The Dust: Flash Art International, no.229, March-April 2003, p. 55. Bradley, Will, Giovanni Intra 1968-2002, Frieze, no.73, March 2003, pp. 54-55. Lewis, Sascha (ed.), Conversation on Contemporary Art Collectives, flavorpill.com, Issue 143, March 4-10, 2003. Nakazawa, Hideki, Saison Art Program, Newsletter, no. 44, February 2003, p. 6. Johnson, Ken, Jon Pylypchuk, The New York Times, February 21, 2003. Levin, Kim, ShortList, The Royal Art Lodge: Ask the Dust, The Village Voice, February 19-25, 2003. Levin, Kim, Jon Pylypchuk + Nicola Tyson, The Village Voice, February 12, 2003. Stern, Steven, The imaginative faculty, Time Out New York, February 13 – 20, 2003, p. 59. The Royal Art Lodge, in: The New Yorker, February 10, 2003. Saltz, Jerry, Paper Trail, in: The Village Voice, January 29- February 4, 2003, p. 56. 2002 Cattelan, Maurizio, Bettina Funcke, Massimiliano Gioni & Ali Subotnick (ed.), Charley 01, 2002, p.109. Out Out West, artnet.com Magazine, September 20, 2002. Jon Pylypchuk, The Village Voice, Fall Arts – Art and Photo, September 4-10, 2002, p. 72. Honigman, Ana Finel, Fantasyland, Time Out New York, June 20 -27, 2002, p. 60 Kimmelman, Michael, Fantasyland, The New York Times, June 14, 2002, p.E38. 2001 Lineup for Dubrow Biennial, Artnet.com, March 22, 2002. Dambrot, Shana Nys, Snapshot: New Art from Los Angeles, Tema Celeste, September October 2001, p. 100. Subotnick, Ali, Snapshot: New Art from Los Angeles, Frieze, October 2001, p. 99. Goodman, Wendy, White Hot, Elle Decor, October 2001, pp. 223-227. Mahoney, Robert, Jon Pylypchuk a.k.a. Rudy Bust at Friedrich Petzel, Art in America, October 2001, pp.166-167. Trainor, James, Woebegone Daze, Border Crossings, no. 78, May 2001, pp.133-134. Smith, Roberta, Jonathan Pylypchuk, The New York Times, February 9, 2001. Jon Pylyphcuk, The Village Voice, February 13, 2001, p.104.

Jon Pylypchuk, The New Yorker, February 5, 2001, p.18. Smith, Roberta, Jonathan Pylypchuk, The New York Times, January 26, 2001, p. E41. Hoptman, Laura, The Shape of Things To Come, Flash Art, January-February 2001, pp. 86-88. Dailey, Meghan, Jon Pylypchuk, Friedrich Petzel Gallery, Artforum, April 2001, p.137. 2000 Harvey, Doug, It’s Chinatown, LA Weekly, May 3, 2000. 1999 Stark, Frances, Frances Stark’s Top Ten, Artforum, November 1999, p. 60.

PUBLIC COLLECTIONS

Blaffer Museum of Art, Texas de la Cruz Collection, Miami Hammer Museum, Los Angeles Los Angeles County Museum of Art, Los Angeles National Gallery of Canada, Ottawa Museum of Contemporary Art, Cleveland Museum of Contemporary Art, Los Angeles Musuem of Contemporary Art, North Miami Museum of Modern Art, New York MONA Museum, Berridale, Tazmania Saatchi Collection, London Stedelijk Museum voor Actuele Kunst, Gent The Whitney Museum, New York The Winnipeg Art Gallery, Winnipeg