Ben Weiner (born November 10, 1980) is an American contemporary artist.
Weiner was born in Burlington, Vermont, and grew up in Dobbs Ferry, New York. He graduated from Wesleyan University in 2003[1] and completed an independent study in painting at the Universidad de las Americas Puebla, Mexico. In 2003, Weiner worked as an assistant in the studio of Jeff Koons.[2]
Blobs of paint can appear as organic terrains and hyperpigmented, trompe-l'œil manscapes. His paintings chart the evolving topologrqphy of his platelet, with the process creation of one painting generating source imagery for the next. Weiner's works weld glamour with the organic while reconsidering the cycle of nature and artificiality. His work also focuses on the daily experience of disassociation and imitation in the digital age, as well as the merging of object, subject and medium.[3]
Weiner's work has been included in exhibitions at The Aldrich Contemporary Art Museum,[4] The Carnegie Art Museum (Oxnard, California), The Riverside Art Museum, and Artspace. His work is in collections including Sammlung Mondstudio (Germany), Progressive Insurance (Ohio), and the Frederick R. Weisman Foundation.[5]
Weiner also designed video projections for the interdisciplinary theatrical production of La Historia de Llorar por El by Ignacio Apolo.
References edit
- ^ "More Notable Alumni - About - Wesleyan University". Archived from the original on 2019-10-01. Retrieved 2012-10-23.
- ^ Sesser, Stan (3 June 2011). "The Art Assembly Line". Wall Street Journal.
- ^ Official site
- ^ "The Aldrich Contemporary Art Museum: Full Circle: Ten Years of Radius". www.aldrichart.org. Archived from the original on 2009-10-31.
- ^ "Ben Weiner - Benrimon Contemporary, LLC Booth A-6 - PULSE NY 2011". Archived from the original on 2011-10-04. Retrieved 2011-06-02.
External links edit
- Ben Weiner's official site
- Ben Weiner on Artsy
- Ben Weiner on artnet.com
- Celebrating a Decade of Artists on the Verge, The New York Times
- A Show Goes Heavy on a Traditional Medium Yet Feels Fresh, The New York Times
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