Draft:Jeremy DePrez
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| Submission declined on 11 October 2024 by Bkissin (talk). This submission does not appear to be written in the formal tone expected of an encyclopedia article. Entries should be written from a neutral point of view, and should refer to a range of independent, reliable, published sources. Please rewrite your submission in a more encyclopedic format. Please make sure to avoid peacock terms that promote the subject.
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| Submission declined on 10 October 2024 by Jamiebuba (talk). This submission's references do not show that the subject qualifies for a Wikipedia article—that is, they do not show significant coverage (not just passing mentions) about the subject in published, reliable, secondary sources that are independent of the subject (see the guidelines on the notability of people). Before any resubmission, additional references meeting these criteria should be added (see technical help and learn about mistakes to avoid when addressing this issue). If no additional references exist, the subject is not suitable for Wikipedia. Declined by Jamiebuba 44 days ago. | |
Comment: I quote one sentence: These objects—distorted, fragmented, and/or exaggerated in a quasi trompe l'oeil style—are stripped of their original purpose, prompting viewers to question the material realities and value systems they often take for granted. This comes with one reference. I read the cited source, quickly. Within it: "Another fantastic work [...] is now so obviously an oversized black towel", so there, perhaps, is the exaggeration. But precisely where in the cited source are the distortion, the fragmentation, the (quasi or not) trompe l'œil, the questioning of material realities, etc? Hoary (talk) 11:51, 12 November 2024 (UTC)
- Comment: WP:NARTIST collections by museums often have one or so of an artists work. following the citations provided on the bibliography answer the "what are these" questions. it seems each has the artists work in them therefore there is listing merit but also should maybe be reframed within the draft. I think the text is saying the artist makes paintings based on everyday objects and is using the medium of painting as a way to re-contextualize the remnants/everyday objects visual information. probably could be worded better in draft. Uncleyrbob (talk) 19:48, 18 October 2024 (UTC)
- Comment: WP:NARTIST thanks to the collections, perhaps; but two of these collections each have just one painting. (As for the third collection, its website is on the blink right now, so I don't know.)What is this "Bibliography"? The items listed don't seem to be collections of his work. Are some of his works reproduced in each? Does each have a paragraph about him? Is each actually worth listing here?Aren't packaging remnants and the like given a new context (or if you prefer, "recontextualized") just by being painted? Hoary (talk) 02:33, 17 October 2024 (UTC)
- Comment: Passes WP:NARTIST, but I'm concerned about the puffery of the prose. Bkissin (talk) 13:52, 11 October 2024 (UTC)
Jeremy DePrez | |
|---|---|
| Born | 1983 (age 40–41) Portland, Maine |
| Nationality | American |
| Education | University of Houston (BA) University of Houston (MFA) |
| Known for | Painting |
Jeremy DePrez (born 1983) is an American contemporary visual artist who uses painting to investigate identity and commodity culture.[1]
Early life and education
[edit]DePrez was born in Portland, Maine in 1983, and pursued his undergraduate and graduate studies at the University of Houston, earning a Bachelor of Fine Arts (BFA) in Painting in 2007 and a Master of Fine Arts (MFA) in Painting in 2011.[2]
Work
[edit]Using painting as a tool to recontextualize familiar items like clothing, packaging remnants, and other objects from his everyday surroundings, DePrez investigates the tension between what is recognizable and the seemingly unfamiliar.[3] These objects—distorted, fragmented, and/or exaggerated in a quasi trompe l'oeil style—are stripped of their original purpose, prompting viewers to question the material realities and value systems they often take for granted.[4]
DePrez's work has been recognized for its experimental approach and use of diverse visual strategies within the field of painting.[5] In a review of DePrez's 2014 exhibition Tenant at Zach Feuer Gallery, Art in America critic Raphael Rubinstein noted his departure from the trend of neatly defined bodies of work, highlighting how DePrez's blend of influences—including Alex Hay, Bridget Riley, and Martin Barre′—alongside references to personal experiences and the everyday, adds both depth and a subtle humor to his work.[6]
Similarly, David Ebony commented on DePrez's irreverence towards abstract painting conventions and his "total disregard for the conventional boundaries" established by post-war art criticism.[7] Ebony noted DePrez’s merging of elements from Op Art, Abstraction, and Color Field painting with sculptural influences from Lynda Benglis and Richard Tuttle, describing the resulting works as characterized by psychological resonance and visual complexity.
Exhibition History
[edit]DePrez has exhibited extensively in the United States and internationally at the Portland Museum of Art (Maine), Zach Feuer Gallery (New York), Galerie Max Hetzler (Berlin), Luhring Augustine Gallery (New York), Texas Gallery (Houston), White Flag Projects (St. Louis), and Magenta Plains (New York) to name a few.
Awards and honors
[edit]- 2015 Chinati artist in residence, Chinati Foundation, Marfa, Texas.[8]
Collections
[edit]DePrez's work is held in several major public collections, including the Museum of Fine Arts, Houston,[9] the San Antonio Museum of Art,[10] and the Portland Museum of Art.[11]
Further Reading
[edit]Tomorrow's Man 6, by Jack Pierson, published by Bywater Editions in 2022.[12]
Blau Kunstmagazin, No.15, "Texas", by Karich Swantje, published by Cornelius Tittel in 2016.[13][14]
The Shaped Canvas, Revisited, published by Luxembourg & Dayan in 2014.[15]
References
[edit]- ^ "Jeremy DePrez". Artspace. Retrieved October 10, 2024.
- ^ "Alumni News". University of Houston School of Art. Retrieved October 10, 2024.
- ^ "Facade Aside: Article Title". Facade Aside. July 8, 2024. Retrieved October 10, 2024.
- ^ Geha, Katie (July 27, 2013). "Painting as Object: Sam Sanford and Jeremy DePrez". Glasstire. Retrieved October 9, 2024.
- ^ "On Our Radar: Jeremy DePrez". Weingarten Art Group. 7 June 2015. Retrieved October 10, 2024.
- ^ Rubinstein, Raphael (January 2015). "Jeremy DePrez at Zach Feuer". Art in America. ArtNews. Retrieved October 9, 2024.
- ^ "David Ebony's Top 10 New York Gallery Shows for October". Artnet News. October 7, 2014. Retrieved October 10, 2024.
- ^ "Jeremy DePrez at The Chinati Foundation". Chinati Foundation. 2015.
- ^ "Untitled". Museum of Fine Arts, Houston. Retrieved October 10, 2024.
- ^ "Untitled (Blue/Red)". San Antonio Museum of Art. Retrieved October 10, 2024.
- ^ "Jeremy DePrez". Portland Museum of Art. Retrieved October 10, 2024.
- ^ Pierson, Jack (2020). Tomorrow's Man 6. Bywater Editions. ISBN 9781988469157.
- ^ Karich, Swantje (November 2016). "Texas". Blau Kunstmagazin.
- ^ "Press Release: Jeremy DePrez" (PDF). Simon Lee Gallery. November 2016. Retrieved October 10, 2024.
- ^ The Shaped Canvas, Revisited. Luxembourg & Dayan. 2014. ISBN 978-0-692-20564-8.