San Francisco Art Institute, San Francisco
Carnegie Mellon University, Pittsburgh
Studied with: Bruce Nauman; Tom Akawie; Jay Defeo; Jack Frost;
Wally Hedrick; Jim Rienkin; Sam Tchakalian.
2013 Three person show Able Fine Art NY, Seoul, Korea
2012 One person show Able Fine Art NY, Seoul, Korea
2012 Journey of Time, 3 person show, Able Fine Art NY, New York, USA
2011 Dorian Grey Gallery, New York, USA
2011 Inaugural Creativity World Biennale, Oklahoma City, USA
2011 Solo Exhibition, Able Fine Art NY Gallery, Seoul, Korea
2010 KIM FOSTER GALLERY, one person show, New York, USA
2010: KIM FOSTER GALLERY, one person show, New York
2009: Salon d'Oblique, Los Angeles
2009: Kunst Club Hamburg, Germany
2008: Open Studio,hosted by Eiman Aziz, Chair of Arts & Culture Committee at Credit Suisse
2007: Galerie Burkhard Eikelman, Dusseldorf, Germany
2006: Andreas Baumgartel Galerie, One Person Show, Munich, Germany
2006: Kunst Club Hamburg, One Person Show, Hamburg, Germany
2006: Berlin Liste, Berlin, Germany
2005: Gallery Burkhard Eikelmann, Germany
2005: Weisspollack Galleries, New York
2004: Collectors Gallery, Albright-Knox Art Gallery, Buffalo, NY
2003: Kristen Frederickson Gallery
2003: Kim Foster Gallery
2002: Kim Foster Gallery - Nov/Dec, NYC One person show
2001: Citigroup Building, NYC, one person show, sponsored by Siemen's International
2000: Kim Foster Gallery, New York City, N.Y., One Person Exhibition
1997: Patricia Correia Gallery, L A., CA., One Person Exhibition
1996: FAX Art Week, Association of Danish Graphics, Copenhagen, Denmark
1996: Kim Foster Gallery, New York City, NY
1996: Gensler, “Shades of Green", Santa Monica, CA
1995: Patricia Correia Gallery, Los Angeles, CA
1995: Schoolhouse Gallery, Croton Foils, NY
1994: Patricia Correia Gallery, Las Angeles, CA
1993: Patricia Correia Gallery, Los Angeles. CA
1992: Robin Rice Gallery. New York City, NY
1992: Nemeroff Deutsch Gallery, Los Angeles. CA
1991: CB 113 Gallery
1990: Neo-Persona Gallery, New York
1989: Neo-Persona Gallery, New York
1988: Somers Art Gallery, New York
1987: Art In General, New York
1986: Hal Bramm Gallery, New York
1986: Gallery Hirondelle, New York
1985: Ruth Bachoffner Gallery, LA., CA
1985: Virginia Miller Gallery, Coral Gables, Florida
1984: Putney Swope Gallery, Los Angeles
1983: Hasselt Museum, Belgium
1981: C.C. "De Warnade" Museum, Belgium
1981: Sarah Y. Rentschler Gallery, New York
1980: Wunderman; Ricotta; Klien New York City
1980: Allrich Gallery, San Francisco, California
1979: Sarah Y. Rentschler Gallery, New York
1977: NY Law School Gallery
1976: Warren Benedek Gallery, New York
1975: Arte Fiera (International), Italy
1974: New Britain Museum, Connecticut
1974 -1981: Sarah Y. Rentschler Gallery, New York
1974: Soho Center for Visual Arts, New York
2017 Art Gyeong-Ju, HICO, Gyeong-Ju, Korea
2017 Art Busan, Bexco, Busan, Korea
2016 Art Gyeong-Ju, HICO, Gyeong-Ju, Korea
2016 LA ART SHOW 2016, Los Angeles Convention Center, Los Angeles, USA
MUSEUM AND PUBLIC COLLECTIONS:
Port Authority of New York and New Jersey
The Warnade Museum, Tunhout, Belgium
The Aldrich Museum of Contemporary Art, Ridgefield Connecticut
Queens College, Queens, New York
SELECTED CORPORATE COLLECTIONS:
Eisai Pharmeceautical, Tokyo, Japan
A.I.G. - Lever House, NYC
Progress Energy, North Carolina
Duke Energy, North Carolina
Delphane Corp. New York
Arts Magazine Collection
Links Associates, Tokyo, Japan
Chubb Insurance Co., New York
Huntington Bank of Ohio
Shearson Lehman, New York
Siemen's Electronics, New York
Terra's Interno, Inc., Tokyo, Japan
Kidder Peabody Collection, New York
Avatar Brokerage, New York
Mcquilling Brokerage Inc., Houston, Texas
Aetna Life and Casualty Insurance, New York
Plaid Bros. Software, Irvine California
Dubisky & Behrens, New York
By Ann Landi, a writer of ARTnews
Augustus Goertz’s art belongs to a tradition of painterly painting that goes back at least as far as the Renaissance. It was the great Venetians, especially Titian, who discovered that paint could be an end on its own, that the bravura brushwork describing a sleeve or a suit of armor was as much a part of the image as the “disegno” or the iconography. Subsequent artists-one thinks of Velazquez, Hals, Turner, Manet- would delight in the viscosity and possibilities for translucence inherent in the medium. Paint could be light, and paint could also be matter.
In more recent times, the Color Field painters, beginning with Rothko, pushed toward ever purer abstraction. Whether thinned to a fine mist and pumped through a compressor, or layered as thickly as cement, paint became the primary carrier of feeling. With an authority unmatched by any critic in our own day, the late Clement Greensberg declared that painting had finally reached the goal it was striving toward over all those centuries: Reduced to its rock-bottom essentials, painting was about painting, pure and simple.
It’s no accident that Goertz belongs to this tradition, which has gotten somewhat lost in the buzz of post-modernist attitude and affectation. The son of a painter, he grew up in an atmosphere enlivened by the presence and aesthetics of some of the masters of earlier generations. Aside from Rothko, his parents’ circle of acquaintance included Barnett Newman, Larry Rivers, and Louise Nevelson. On the West Coast, in San Francisco, where Goertz studied, painterly painting reached an obsessive-compulsive pitch in Jay DeFeo’s The Rose, a work whose accumulated layers eventually reached a startling eight inches in relief and 2,000 pounds in weight. (DeFeo, significantly, was one of Goertz’s teachers at the San Francisco Art Institute.) What Goertz brings to the tradition is a willingness to stretch the category, to experiment with new grounds (and even college) - and a playfulness that was outside the rather rigid theorizing of earlier generations.
His latest works, the Globe Series, continue the concerns and ambitions that have occupied him at least since the late 1980s. His sources and allusions remain many and varied, from NASA photographs to movies. O-zone, for instance, found its inspiration in a Czech film about thermonuclear Apocalypse, “Summer at the Hotel Ozone.” Its oozing red and gold surface seems to hint at some end-of-the-world cataclysm, but there’s also the sense of lifting off and away that goes right back to Titian and his otherworldly Ascension of the Virgin in the Frari. Globe, at the opposite end of the emotional spectrum, presents a cool lunar surface, heavily scarred and blistered. But as in other paintings, Goertz invites multiple interpretations: The purely extraterrestrial readings are subverted by what appears to be a ghostly plan for a cityscape in the upper lefthand corner.
The way Goertz’s paintings turn out, curiously, is often not the way they began. Tulip, for example, the most “global” of the Globe Series, started off as a still life. Over time it evolved into something quite different, thought it heavily crusted surface might still conjure up some overripe fruit. There is something touchingly like Cezanne about this kind of artistic process: One senses the painter grappling with an external reality, approaching it again and again, editing and revising, until an image emerges that bears little resemblance to its source in the real world.
A few words should be said about Goertz’s efforts on a smaller scale. The average viewer may not realize what a difficult balance he’s able to achieve in dimensions that approach the size of traditional easel paintings. Because of the heavy layers of paint and the jewel-like colors, these could easily slide into the category of precious objects, but through a sleight of eye and hand, Goertz always pulls back from that brink. The paintings always “read” as illusions, as belonging to a Western way of picture making rather than, say, the realm of the purely decorative that exists in glazed pottery or textile design.
As Goertz puts it, his works “come out of the alchemy of painting.” They also come out of a turn-of-the-new-century realization that the more we know about space and matter, the more realism and abstraction begin to fine a common ground. Sophisticated photographic processes and lenses magnify the world in a way never before imagined, so that Goertz’s paintings partake of up-to-the-minute knowledge of the cosmos while giving a generous nod to some of the most hallowed traditions of Western art.
The New York Times September, 1999
ART REVIEWS; The Planet's Glories, and Some of Its Pains
By Helen A. Harrison
Augustus Goertz is a formalist, but not in the traditional sense of a painter concerned primarily with constructing balanced compositions of shapes and colors. On the contrary, his compositions seem to be redefining themselves continuously, shifting in one's field of vision even as the eye scans them for structure and coherence. This fluid quality is one of his signature devices. Another is the sensuous, tactile surface, rich with subtle undertones and punctuated by shimmering highlights.
The narrow gallery makes it a bit difficult to appreciate the full impact of Mr. Goertz's chromatic effects, which vary with viewer's position in relation to the canvas. If the surfaces often appear to be in motion, it is partly a result of altering one's vantage point to allow the play of light to pick up or play down the sculptural character of the thick impasto. And, like Impressionist paintings, these look significantly different from a distance, where the underlying armatures become evident.
Although they are not landscapes in the literal sense, many of the paintings allude to natural phenomena, especially light and water. When the two elements interact, as with sunshine reflected on the sea, familiar landmarks dissolve and the picture plane becomes the orientation point. One loses the feeling of any specific locale and instead discovers more generic associations with nature. In ''The Swimmer,'' for example, movement through space is implied, but in a non-specific, timeless milieu more imaginary than actual.
''Access 6'' suggests a portal or entry without boundaries, a flexible, unimpeded interchange between inner and outer realities. From surface to depth, from light to darkness, from fantasy to memory, perceptions switch back and forth in a mutually enriching game of hide-and-seek. Similarly, the implicit wall of color that structures ''Cliffhanger'' is no more solid than a veil of mist, and just as sensitive to the nuances of changing light.
By Christopher Chambers
Augustus Goertz’s recent, richly textured, mixed media paintings invite the viewer to dieve into a primordial, celestial haze of light and color. Paints, emulsions and various goops are slathered, troweled and poured, creating a rugged terrain of gutsy, built up surfaces. The pigments he uses have an iridescent quality that causes them to change with the ambient light. Each painting has one overall hue. Green fades to black in mottled phosphorescene on one piece. Copper toned atmospheric splatters ebb and flow across bold diagonal ridges on another. The centerpiece of the show was a large diptych titled Starry, Starry Day, an obvious allusion to Van Gogh’s Starry Night. Luminous spirals reminiscent of the mysterious nocturnal sky of the Impressionist masterpiece coagulate in an off-green vaporous field.
Goertz is an adept latter day expressionist. He exuberantly melds the physicality of the art object with metaphysical pictorialization.