Art and Machine at Gallery 151

“Painting in the Machine”, installation view at Gallery 151, New York, 2016
Anton Perich Dance Movement I , 2008 acrylic marker on canvas 56 x 48 in / 142.2 x 122 cm
Anton Perich, Dance Movement I, 2008, acrylic marker on canvas, 56 x 48 in / 142.2 x 122 cm

“Dance movement” is the first piece to capture your attention when you walk into Gallery 151 in Chelsea for Anton Perich’s showing, Painting in the Machine, and it holds your gaze for the entirety of the visit. Even when you look away to see the other works – Many of which resemble brightly woven French beach towels and colorful throws with horizontal lines – your mind still lingers with “Dance Movement.”

The colors of “Dance Movement” completed in 2006, are pastel, fluorescent, and black – feminine and strong. There is the clear figure, in black, of a young figure turning to the side, her arms out wide, in a swirl.  The horizontal lines matched with the body’s turn create an incredible and dynamic sense of movement. The horizontal lines of the paint drip down to create a second layer of movement in the painting.

Perich paints using a machine painting technique. He invented a painting machine in 1978, which in fact was an early version of the ink jet printers we are so familiar with today. The printing happens through the application of vertical lines of color, which are a distinctive feature of his works of art.

“Painting in the Machine”, installation view at Gallery 151, New York, 2016
Anton Perich Tesla , 2011 acrylic on canvas 53 x 45 in / 134.5 x 114.3 cm
Anton Perich, Tesla, 2011, acrylic on canvas, 53 x 45 in / 134.5 x 114.3 cm

Perich’s background in film also comes through, with many cinematic images seemingly resting behind horizontal lines of color, like moving stills. In “Tesla,” there appears to be a man resting his face on his hands, and another painting features a figure resting against a wall.

Drips in art are familiar, most famously in the work of Jackson Pollock, but with Perich, you get the sense of a human intervened in the processed data or color. It is as though something had gone awry with the ink jet and a human voice had disrupted the machine printing. The paintings leave you questioning the clean, clear processing of visual data. It leaves you questioning the overstimulation of information, and wondering, wanting to experience more of the elicited human emotion captured in distorted form.

“Reality is not what photography is about—it is an abstract world based on the seductive and the fantastic” – Anton Perich


Anton Perich: Painting in the Machine
Exhibiting June 16th – July 28th, 2016
Gallery 151
Chelsea, NY

Writing by Carmen James

Courtesy of Gallery 151; “Painting in the Machine” is curated by Wallplay; Anton Perich appears courtesy of Postmasters Gallery, New York.

Anton Perich Eurydice , 2015 acrylic on canvas 64 x 54 in / 173 x 208 cm
Anton Perich, Eurydice, 2015 acrylic on canvas, 64 x 54 in / 173 x 208 cm
“Painting in the Machine”, installation view at Gallery 151, New York, 2016
Anton Perich, Emanation , 2009 acrylic on canvas 64 x 54 in / 162.5 x 137 cm
Anton Perich, Emanation, 2009, acrylic on canvas, 64 x 54 in / 162.5 x 137 cm
“Painting in the Machine”, installation view at Gallery 151, New York, 2016
Anton Perich Elsinore , 2012 acrylic on canvas 66 x 55 in / 167.5 x 140 cm
Anton Perich, Elsinore , 2012, acrylic on canvas, 66 x 55 in / 167.5 x 140 cm
“Painting in the Machine”, installation view at Gallery 151, New York, 2016
Carmen Elinor James

Carmen Elinor James

CARMEN ELINOR JAMES is a New York-based educator, researcher, and designer. She currently works as the lead instructional designer at General Assembly for online courses. She received her PhD from Teachers College, Columbia University in Philosophy and Education in 2015. Her graduate work examine habits in education and the role of spontaneity and aesthetic experiences in learning. She is passionate about the intersection of culture and education and received a grant from Columbia University to pursue this research in 2011 in Buenos Aires. Prior to that, she was a summer fellow at the National Endowment for the Humanities in 2007. In 2007 she also received a grant from Harvard University to research the relationship between poetry and cities in Paris and Shanghai. She completed her undergraduate degree at Harvard University, majoring in Comparative Literature.

  1. VICTOR BOCKRIS: Anton Perich has been an outstanding artist living and working in New York ever since I first met I’m in 1973. In the intervening forty three years he has constantly worked in video, photography and painting. He is also a writer who moves me with his words. Anton Perich’s work is full of passionate reactions to life and expressions of love. For continuity, for a cohesive body of work and for dedication to his calling, Anton Perich is the contemporary fellow artist with whom I feel most connected, most aligned. He is a world class artist. It has taken the art world some time to fully appreciate the activity and presence of his art in our times.

    I hope this show will lead to many more shows of his work. Personally I like best his series of early i970s comedies he filmed in New York with a group of talented underground actress and actors. And the beautiful portraits he has made of girls and women. His appreciation of the female has been and still is part of my education. Back in 1974 we worked on my book and his film about Muhammad Ali in his brand new training camp FIghter’s Heaven. Ali’s recent death takes me back to those days as much as it engages me in the present. We are lucky to have Anton Perich amongst us. You will get much from looking into his art. This show is a great beginning off a long rich journey.

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