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Lucas Reiner
Lucas Joseph Reiner (/ˈraɪnər/; born August 17, 1960) is an American painter, printmaker, photographer and filmmaker. He is most known for painting series that mix elements of representation, narrative, symbolism and abstraction. The work explores subjects such as the collision between organic growth and urban life, the atmospheric effects of fireworks and spiritual themes. His work belongs to the collections of the Los Angeles County Museum of Art, Santa Barbara Museum of Art and Staatliche Graphische Sammlung München, among others, and a monograph of his paintings, drawings and photographs, Los Angeles Trees (2008), was selected as one of the Los Angeles Times "Favorite Books of 2008." That paper's critic David Pagel wrote that his "paintings of trees trimmed to within inches of their lives have the pathos of circus freaks and the stubbornness of survivalists." Reiner has exhibited in the U.S., Germany, Italy and Mexico, at institutions including Los Angeles Municipal Art Gallery and Museo de la Estampa. He is based in Los Angeles and Berlin, and married to Maud Winchester.
His brother was filmmaker Rob Reiner.
Reiner was born in Los Angeles, California on August 17, 1960, the third child of actor, comedian, director and writer Carl Reiner and visual artist and performer Estelle (née Lebost) Reiner.
He attributes his interest in art to his mother; both studied with painter Martin Lubner. Between 1978 and 1986, Reiner attended Parsons School of Design and The New School for Social Research in New York, Otis Art Institute in Los Angeles, and Parsons School of Design Paris. He began exhibiting in group shows in New York (The Drawing Center, Grand Salon) and Los Angeles (Manny Silverman) in the early 1990s, before having his first solo exhibition of paintings at Bennett Roberts (1995, Los Angeles).
In subsequent years, he has exhibited individually at Roberts & Tilton and Carl Berg Projects in Los Angeles, Galerie Biedermann and Galerie Peter Bauemler in Germany, and Galeria Traghetto and Claudia Gian Ferrari Arte Contemporanea in Italy, and in group exhibitions at L.A. Louver, CSU Luckman Gallery, Edward Cella Art + Architecture, and Bridge Projects, among others.
Reiner's influences include Old Master painters and modern figures such as Mark Rothko, Robert Ryman, and Philip Guston; writer Fred Dewey makes links between Reiner's work and that of Giorgio Morandi. Reiner's early, largely abstract work (which nonetheless references the physical world through color, surface, and text fragments) bears the influence of conceptualism and minimalism in its reduction of content and figuration in reaction. His post-2000 work introduces representational elements, often references to the urban landscape and natural phenomena.
Reiner's solo debut at Bennett Roberts featured paintings that distilled everyday experiences into color field-like abstractions; Art in America likened them to "core samples" extracted from Los Angeles's cultural landscape that "resonate with emotion, poetry and gritty reportage" (e.g., dead dog and thank god roses, both 1995). He began such work with "field studies"—coded recordings of the colors, verbal fragments and commercial signage of street scenes—which he translated into the chart-like, geometric paintings. LA Weekly critic Peter Frank wrote that the floating, tenuous squares of color "marry vernacular haiku to very shy minimalism," yielding results "both less mysterious and more affecting than they sound."
In subsequent shows, Reiner moved toward more all-over abstract compositions. The exhibition "milk, piss, blood, rust, dirt" (1996) consisted of five large paintings, which combined color-field explorations with wry or poignant inscriptions referencing collective notions concerning the title substances. "Starting with the Flower" (Griffin Contemporary Exhibitions, 1998) featured paintings built upon oppositions of materiality and light lyricism, the abject and transcendent (e.g., Rope Trick and Chicken Flower); reviews suggest they recall Guston's scumbled, discordant coloration and crudely defined shapes and the scorched, scarred surfaces of Antoni Tàpies. In the later 1990s, Reiner incorporated urban signage to a greater degree in small paintings (e.g., La Petite Beauty and Grace, 1999) that indicate the aesthetic impact of Richard Diebenkorn, Vija Celmins, and Ed Ruscha, who appeared with him in the show, "Urban Hymns" (Luckman Gallery, 2000).
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Lucas Reiner
Lucas Joseph Reiner (/ˈraɪnər/; born August 17, 1960) is an American painter, printmaker, photographer and filmmaker. He is most known for painting series that mix elements of representation, narrative, symbolism and abstraction. The work explores subjects such as the collision between organic growth and urban life, the atmospheric effects of fireworks and spiritual themes. His work belongs to the collections of the Los Angeles County Museum of Art, Santa Barbara Museum of Art and Staatliche Graphische Sammlung München, among others, and a monograph of his paintings, drawings and photographs, Los Angeles Trees (2008), was selected as one of the Los Angeles Times "Favorite Books of 2008." That paper's critic David Pagel wrote that his "paintings of trees trimmed to within inches of their lives have the pathos of circus freaks and the stubbornness of survivalists." Reiner has exhibited in the U.S., Germany, Italy and Mexico, at institutions including Los Angeles Municipal Art Gallery and Museo de la Estampa. He is based in Los Angeles and Berlin, and married to Maud Winchester.
His brother was filmmaker Rob Reiner.
Reiner was born in Los Angeles, California on August 17, 1960, the third child of actor, comedian, director and writer Carl Reiner and visual artist and performer Estelle (née Lebost) Reiner.
He attributes his interest in art to his mother; both studied with painter Martin Lubner. Between 1978 and 1986, Reiner attended Parsons School of Design and The New School for Social Research in New York, Otis Art Institute in Los Angeles, and Parsons School of Design Paris. He began exhibiting in group shows in New York (The Drawing Center, Grand Salon) and Los Angeles (Manny Silverman) in the early 1990s, before having his first solo exhibition of paintings at Bennett Roberts (1995, Los Angeles).
In subsequent years, he has exhibited individually at Roberts & Tilton and Carl Berg Projects in Los Angeles, Galerie Biedermann and Galerie Peter Bauemler in Germany, and Galeria Traghetto and Claudia Gian Ferrari Arte Contemporanea in Italy, and in group exhibitions at L.A. Louver, CSU Luckman Gallery, Edward Cella Art + Architecture, and Bridge Projects, among others.
Reiner's influences include Old Master painters and modern figures such as Mark Rothko, Robert Ryman, and Philip Guston; writer Fred Dewey makes links between Reiner's work and that of Giorgio Morandi. Reiner's early, largely abstract work (which nonetheless references the physical world through color, surface, and text fragments) bears the influence of conceptualism and minimalism in its reduction of content and figuration in reaction. His post-2000 work introduces representational elements, often references to the urban landscape and natural phenomena.
Reiner's solo debut at Bennett Roberts featured paintings that distilled everyday experiences into color field-like abstractions; Art in America likened them to "core samples" extracted from Los Angeles's cultural landscape that "resonate with emotion, poetry and gritty reportage" (e.g., dead dog and thank god roses, both 1995). He began such work with "field studies"—coded recordings of the colors, verbal fragments and commercial signage of street scenes—which he translated into the chart-like, geometric paintings. LA Weekly critic Peter Frank wrote that the floating, tenuous squares of color "marry vernacular haiku to very shy minimalism," yielding results "both less mysterious and more affecting than they sound."
In subsequent shows, Reiner moved toward more all-over abstract compositions. The exhibition "milk, piss, blood, rust, dirt" (1996) consisted of five large paintings, which combined color-field explorations with wry or poignant inscriptions referencing collective notions concerning the title substances. "Starting with the Flower" (Griffin Contemporary Exhibitions, 1998) featured paintings built upon oppositions of materiality and light lyricism, the abject and transcendent (e.g., Rope Trick and Chicken Flower); reviews suggest they recall Guston's scumbled, discordant coloration and crudely defined shapes and the scorched, scarred surfaces of Antoni Tàpies. In the later 1990s, Reiner incorporated urban signage to a greater degree in small paintings (e.g., La Petite Beauty and Grace, 1999) that indicate the aesthetic impact of Richard Diebenkorn, Vija Celmins, and Ed Ruscha, who appeared with him in the show, "Urban Hymns" (Luckman Gallery, 2000).