Daniel Dove
Daniel Dove (b. Austin, TX) received a BFA from the University of Texas at Austin and an MFA from Yale University. Daniel has participated in solo and group shows at galleries and Universities around the United States, including Jack Shainman Gallery (NYC), Philip Martin Gallery, Cherry, and Martin Gallery and Mark Moore Gallery (LA), Santa Barbara City College, the Frederick Weisman Museum (LA), the Katonah Museum of Art (NY), Florida State University Museum, and the Cleveland Institute of Art. His work has been featured in various publications, including Art in America, Tema Celeste, The Los Angeles Times, The Village Voice, LA Weekly, Artforum, Harper鈥檚, New American Paintings, the Cleveland Plain Dealer, and Artillery Magazine. He has received grants from the Dallas Museum of Art and the Ohio Arts Council and is the recipient of The William and Dorothy Yeck Award and a Joan Mitchell Foundation Fellowship. Daniel lives and works in Los Angeles.
- Master of Fine Art, Yale University, New Haven, CT
- Bachelor of Fine Arts, University of Texas, Austin, TX
My paintings depict fictional, once-grand environments and objects that have fallen into disrepair. Whether originally built for purposes of entertainment, social organization, or manifesting a utopian dream, these places are now marked and degraded by natural elements and human intervention. In this respect, they have lost both their function and transcendence, becoming disorganized and emphatically material; ideal subjects to be rendered in the murky, viscous material of paint. Painting鈥檚 history is also evoked via reductively geometric compositions and naturalistic rendering. As such, my work presents broken Modernist artifacts (such as mid-20th-century furniture, sculpture, and architecture) while implicitly celebrating that era鈥檚 pictorial structures. This is realized by using the effects of observational light, volume, texture, and space, which makes my paintings a hybrid of pre-modern realism, Modernist abstract composition and concrete subject matter, and postmodern melancholy for a culture in decline.
