One of the most radical American artists of the last 40 years, Los Angeles-based Richard Jackson has expanded the definition and practice of painting into almost unimaginable dimensions. His wildly inventive, exuberant, and irreverent takes on “action” painting have dramatically extended its performative and spatial reach, merged it with sculpture, and repositioned it as an art of everyday experience.
A veteran of the West Coast art scene, Jackson is frequently considered in tandem with Bruce Nauman, whom he considers an inevitable influence,
as well as Paul McCarthy, Mike Kelley, and Ed Ruscha. Despite the similarities, Jackson is not interested in being part of a group: “What is of interest to me is not how things are the same, but how they are different. This doesn’t have to lead to this, it could just lead to nowhere.”...see the entire article in the print version of July/August's Sculpture magazine.
1000 Clocks, 1987-92. Steel, aluminum, electronic parts, plastic, fluorescent lights, oil, and paint, 360 x 1098 x 915 cm.