Mark Tansey

Pictures should be able to function across the fullest range of content. The conceptual should be able to mingle with the formal and subject matter should enjoy intimate relations with both. —Mark Tansey Each of Mark Tansey’s paintings is a visual adventure that explores the nature of perception, meaning, and subjectivity. Working with the traditions of figurative and landscape painting, Tansey incorporates his expansive knowledge of history in layers of literary, philosophical, and mathematical references. Distortions of perspective and scale combine with his technical proficiency to complicate what it means to view and understand an image. Growing up in San Jose, California, with an art historian for a father, Tansey became familiar with art at a young age. This experience kick-started the mental and physical database of visual references that he continues to draw on for his meticulously detailed paintings today. In 1969 Tansey enrolled at the Art Center College of Design in Los Angeles, where he began to explore the appropriation of mass media, prefiguring the work of the Pictures Generation, who would investigate similar questions in the 1980s. In 1974 Tansey moved to New York and enrolled in the graduate program at Hunter College, where he further explored the ways in which historical arcs could be reimagined and presented in surreal tableaux. Tansey’s paintings are monochromatic and possess a near-photographic precision, accomplished through a subtractive painting process: Tansey first primes his canvas with white gesso, then blocks out the general forms of the composition by covering sections with color, and finally carefully removes layers of paint to reveal varying degrees of the canvas beneath. He works between New York and Portsmouth, Rhode Island, producing about one painting every two years, each composed from arrangements of sketches, collages, and collected ephemera. In 2004 an exhibition of Tansey’s recent paintings at Gagosian’s West 24th Street gallery in New York marked the first time that he used ultramarine blue, a hue that is now characteristic of his oeuvre. Praised for their sense of urgency, the ultramarine paintings depict sublime natural landscapes punctuated with small figures, ships navigating through towering waves, and vertigo-inducing reflections, cleverly conflating up and down, then and now. Though the complex scenes are rendered with schematic exactitude, as the viewer peers in to examine the many details, intimate expressive moments are revealed, where the fluidity of paint asserts itself without distracting from the overall hyperreal effect.