Joel Dean
Joel Dean
b. 1986, Atlanta, GA
Lives and works in New York
Joel Dean’s practice spans painting, sculpture, and installation, examining across these formats the stability of cultural signs and symbols. In large scale oil on canvas, Dean uses alphabetical characters as a point of departure for intricate, fantastical panoramas. Beginning with initials as a familiar strategy of signification, Dean densely populates these archetypal origins with personal symbology and serpentine narratives, eluding a unilateral reading. In Dean’s sculpture and installations, the denotations of visual icons are similarly complicated and challenged to engender more complex interpretation: “Big Apples'' are choked with overgrowth; city skylines comprise stacks of currency; porcelain angels are perched atop glowing fluorescent lighting. In undermining the simplicity of the symbols he employs, Dean ultimately expands their meaning.
EDUCATION
2009 | Bachelor of Fine Arts, School of the Art Institute of Chicago |
SOLO EXHIBITIONS
2024 | Notes on the Fall of Emphasis, Derosia, New York, NY |
2022 | The Dreamtime Particle Pretend, Derosia, New York, NY |
2021 | Universe Picture Collapse, Bel Ami, Los Angeles, CA |
2019 | Evolve Right Now, Prairie, Chicago, IL Perfectamundo, Cordova, Barcelona |
2018 | The Fugitive, the Repeat Offender, and the Running Joke, Interstate Projects, Brooklyn, NY |
2017 | Excerpts from a line of questioning surrounding a missing circle, The New York Headache Society, Redhook, NY |
2016 | Powers of 7-8-9, Species, Atlanta, GA |
First Person Problems, International Studio and Curatorial Program, New York, NY | |
2015 | Empty Stomach Challenge, Princess, New York, NY |
2013 | The Mutant and the Melody, Jancar Jones Gallery, Los Angeles, CA |
SELECTED GROUP EXHIBITIONS
2023 | Off Script, Simone Subal Gallery, New York, NY |
2021 | Entrainment, Someday, New York, NY |
Almost Samhain, Annex de Odelon, New York, NY | |
2020 | No Place, P.P.O.W., New York, NY |
An Artist Age Mess, Bodega (Derosia), New York, NY | |
The 4 Gate Connection, Tatjana Pieters, Ghent, Belgium | |
2019 | Bubble, Gern en Regalia, New York, NY |
Hong Kong, MX Gallery, New York, NY | |
2018 | The Belly & the Members, MX Gallery, New York, NY |
2017 | 40 Pest Street, Alyssa Davis Gallery, New York, NY |
The Mere Future, curated by Tim Gentles, American Medium, Brooklyn, NY | |
2016 | Hard to Be a God, Weekends, London, United Kingdom |
The Garden, Room 10 27 E, Paris, France | |
Welcome to Earth, the story so far..., High Tide, Philadelphia, PA | |
2015 | Towards the Theory of a Unified Hole, Bodega (Derosia), New York, NY |
100º City, City Limits, Oakland, CA | |
Sixth Sense, Mini Bar Artists Space, Stockholm, Sweden | |
2014 | Bay Area Now 7, Yerba Buena Center for the Arts, San Francisco, CA |
Four Drawings of a Farmer, Bureau, New York, NY | |
Another Name For Liar, Lodos Contemporåneo, Mexico City, Mexico | |
2013 | The Fruit that Ate Itself, Et Al, San Francisco, CA |
Great Skin, Bodega, Philadelphia, PA |
SELECTED PRESS
Anachronism and Apocalypse: Notes on the Contemporary Medieval, Isabella Miller, Carla, February 2023, Print
No Place, Johanna Fateman, The New Yorker, August 2020, Print
I Me Mind, Michael Robbins, Bookforum, Dec/Jan 2020, Print
Up Close 2016: Around Atlanta, Victoria Camblin, Art in America, Jan 5, 2017
A Glorious Exploration of Binaries, Jerry Cullum, Arts Atl, Dec 21, 2016
100º City, Jackie Im, Art Practical, San Francisco, May 5, 2015
100º City, Sarah Burke, East Bay Express, April 24, 2015
Four Drawings of a Farmer at Bureau, Alexandra Pechman, Art News, New York, October, 1 2014.
The Mutant and the Melody, Bianca Guillen, San Francisco Arts Quarterly, September 25, 2013
PUBLICATIONS
2021 | Universe Picture Collapse, published by Bel Ami, LA |
AWARDS, FELLOWSHIPS & RESIDENCIES
2019 | Residency, Triangle Association, Brooklyn, US |
2017 | Summer Forum, Kaneohe, Hawaii, US |
2013 | Alternative Exposure Grant, Southern Exposure / The Andy Warhol Foundation |
2009 | Fellowship, Ox-Bow School of Art & Artists’ Residency |
2008 | Ellen Battell Stoeckel Fellowship, Yale University |