Mark Dagley

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Mark  Dagley Mark Dagley Hued Spiral 1999 Oil and graphite on canvas 24 x 24 at David Richard Gallery

Hued Spiral
- Oil and graphite on canvas , 1999
24 x 24 in
CALL FOR PRICE

Before there was art:

Growing up, I liked collecting rocks and fossils, breeding tropical fish and playing classical guitar. I began painting seriously as a teenager and my goal was to become a professional artist.

 

Mentor:

I had an instructor in high school named Raymond Wilkins who was a fine oil painter and proficient in all mediums. He was a very passionate teacher. He introduced me to the world of art and encouraged me to investigate the local scene: the Washington Color School. I was particularly drawn to the work of Gene Davis, Morris Louis and Anne Truitt.

[Dagley also took classes with Ed McGowin and attended the Corcoran School of the Arts & Design while still in high school and later studied painting, video and electronic music at the School of the Museum of Fine Arts.]

 

 

Colorists and Mannerists:

Color has always been a primary interest of mine and the Venetian colorists—Veronese, Titian, Tintoretto—maintain their appeal. I’ve also always enjoyed Mannerist art: Bronzino, Ghirlandaio, Parmigianino. The mythological and overworked hyper-detailed paintings of Joachim Wtewael are especially fascinating.

 

 

Schooled by color:

Having grown up in Washington D.C. when I did, I couldn’t help but be influenced by the Color School. Their discoveries and use of materials continue to inform my work. Like the Mannerists, their compositions seem to constantly change dimensionality.

 

 

A certain type of magic:

Painters are probably the most vexed by their own work. Even the smallest change can cause a total reworking of a painting. Many times a painting takes on a life of its own and a certain type a magic occurs. It starts telling the artist what needs to be done.

 

 

Qualities musical and otherwise:

Since I am also a musician, I tend to use elements and techniques of composition and performance in my visual art. Many color decisions are based on triad awareness, for example the use of red, yellow and blue or orange, green and purple. With the addition of white or black for mixing, the possibilities are endless.

The qualities I take into consideration when making a painting are repetition and the speed at which images affect the eye, how form and structure affect the body, and how color choices affect all of the above.

[Dagley still studies music at The Juilliard School, has a book and music publishing venture, Abaton Book Company, which he runs with his wife Lauri Bortz, and while living and studying art in Boston, started the art-rock post-punk band The Girls, which also featured artist George Condo, and later on formed the Hi Sheriffs of Blue.]

 

 

The 10,000 Dot Rule:

Each series of work contains a motif. Sometime that motif may be the shape of the canvas itself or just a single color. I may focus on the repetition of a dot, but I’ll use tens of thousand of dots to get the effect I need. This creates a faster paced painting, one that can be seen in a glance. If I want to slow things down, I’ll focus on a series of shapes that force the eye to follow a contour.

 

 

Visual architecture:

I like to create design elements which initiate a composition. My work is a type of visual architecture that allows a narrative of surprise and improvisation to occur. It has a beginning, middle and end; therefore, it’s never truly abstract.

 

 

Seeing things not as they are:

A small child once referred to a three-stepped floor sculpture with a high gloss surface as a “Glass Mountain.” That perception, bordering on the psychedelic, seeing something as it was not, was my favorite description of a specific work.

[Dagley has works at the Museum of Geometric and MADI Art in Dallas, at the Collection Doberman, the University of Michigan Museum of Art, and the Cafritz Foundation, among many others.]

EXHIBITIONS

Mark Dagley
Sunday, March 3, 2019 - Sunday, March 31, 2019
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Mark  Dagley Mark Dagley Hued Spiral 1999 Oil and graphite on canvas 24 x 24 at David Richard Gallery Hued Spiral
Oil and graphite on canvas   1999
24 x 24 in
Call For Price
Framed
DAGM13073
Mark  Dagley Mark Dagley Cul de Dac II 2016 Acrylic on linen 36 x 36 at David Richard Gallery Cul de Sac II
Acrylic on linen   1999
72 x 72 in
Call For Price
Framed
DAGM13131
Mark  Dagley Mark Dagley Loudmouth Baby Acrylic on canvas 24 x 38 at David Richard Gallery Loudmouth Baby
Acrylic on canvas  
24 x 38 in
Call For Price
Framed
DAGM13257
Mark  Dagley Mark Dagley Maroon Purple Black Ord Acrylic and mixed mediums on unprimed canvas 2006 68 x 72 at David Richard Gallery Maroon Purple Black Ord
Acrylic and mixed mediums on unprimed canvas   2006
68 x 72 in
Call For Price
Framed
DAGM13258
Mark  Dagley Mark Dagley Natural Value Vortex (Black and White Dot Painting) Acrylic on canvas 84 x 84 at David Richard Gallery Natural Value Vortex (Black and White Dot Painting)
Acrylic on canvas   2000
84 x 84 in
Call For Price
Framed
DAGM13132
Mark  Dagley Mark Dagley Pink Ringed Orb Acrylic and mixed mediums on unprimed canvas 64 x 64 at David Richard Gallery Pink Ringed Orb
Acrylic and mixed mediums on unprimed canvas   2006
64 x 64 in
Call For Price
Framed
DAGM13137
Mark  Dagley Mark Dagley Self Generating Orb_1 Oil and graphite 24 x 24 at David Richard Gallery Self Generating Orb_1
Oil and graphite   1999
24 x 24 in
Call For Price
Framed
DAGM13266
Mark  Dagley Mark Dagley Self Generating Orb_2 Oil and graphite 24 x 24 at David Richard Gallery Self Generating Orb_2
Oil and graphite   1999
24 x 24 in
Call For Price
Framed
DAGM13267
Mark  Dagley Mark Dagley Seven-Color Orb Oil and graphite 22 x 22 at David Richard Gallery Seven-Color Orb
Oil and graphite   1999
22 x 22 in
Call For Price
Framed
DAGM13268
Mark  Dagley Mark Dagley Spectral Presence 2006 Acrylic on canvas 64 x 54 at David Richard Gallery Spectral Presence
Acrylic on canvas   2006
64 x 54 in
Call For Price
Framed
DAGM13135
Mark  Dagley Mark Dagley Star Shapes 1995 Electrical tape and hand printed linocut on canvas 50 x 50 at David Richard Gallery Star Shapes
Electrical tape and hand printed linocut on canvas   1995
50 x 50 in
Call For Price
Framed
DAGM13151
Mark  Dagley Mark Dagley Untitled (Blue Triangles) 1994 Acrylic on canvas 48 x 24 at David Richard Gallery Untitled (Blue Triangles)
Acrylic on canvas   1994
48 x 24 in
Call For Price
Framed
DAGM13153
Mark  Dagley Mark Dagley Vortex 1995 Acrylic on canvas 69 x 70 at David Richard Gallery Vortex
Acrylic on canvas   1995
69 x 70 in
Call For Price
Framed
DAGM13148
Mark  Dagley Mark Dagley We Are Not Alone 1995 Acrylic on canvas 82 x 64 at David Richard Gallery We Are Not Alone
Acrylic on canvas   1995
82 x 64 in

Framed
DAGM13149

3, 6, 12, 24, 48, 120, Works per page

formatting

 

Mark  Dagley

Mark Dagley

Mark Dagley Biography

Mark Dagley (b. 1957, Washington D.C.) is a visual artist who studied painting and sculpture at the Corcoran School of Art, and painting, video and electronic music at the School of the Museum of Fine Arts. He currently studies classical guitar privately and Music Theory in the evening division at The Juilliard School.
 
Dagley has exhibited his work internationally for the past three decades, including in North America, Europe, and Australasia. During the 1980s, he was active in the East Village abstract painting scene and showed alongside other pioneering abstract painters, including Barry X Ball, Max Gimblett, Olivier Mosset, James Nares, Stephen Parrino, Li Trincere, and Alan Uglow, among many others. His first solo exhibition took place in 1987, at the Tony Shafrazi Gallery, New York City.

In 1993 Dagley had his first Museum exhibition at the Kunstverein St. Gallen, Switzerland. In the same year, he received his first major commission from Hoffman/LaRoche Pharmaceuticals: two wall reliefs, nine-foot square, which were installed in their new office building outside of Basel. His work was included in the groundbreaking group exhibition Post-Hypnotic, which traveled throughout the United States from 1999-2001. His work Concentric Sequence (1996) was featured on the cover of the exhibition catalog.

During his career, Dagley has worked with a number of influential galleries worldwide, including Tony Shafrazi Gallery (NYC), Galerie Hans Strelow (Dusseldorf, Germany), Galeria Mar Estrada (Madrid, Spain), and Galerie Swart (Amsterdam, The Netherlands). More recently he has exhibited his work at Anna Kustera Gallery (NYC), The Shore Institute of the Contemporary Arts (Long Branch, NJ), The Suburban (Chicago, IL), Daniel Weinberg Gallery (Los Angeles, CA), Instituto de Artes Graficas (Oaxaca, Mexico), ParisCONCRET (Paris, France), Galeria Leyendecker (Santa Cruz de Tenerife, Spain), and Musee des beaux-arts de La Chaux-de-Fonds (La Chaux-de-Fonds, Switzerland).

His work can be found in the collections of the Cafritz Foundation, Collection Doberman, Oppenheim & Co, R.H. Peterson, University of Michigan Museum of Art, the Museo Nacional Centro de Arte Reina Sofia, Kunstmuseum St. Gallen, the Musée des Beaux Arts La Chaud de Fonds, Credit-Suisse, Hoffman/LaRoche, Henkel GmbH, EMI Madrid, Bloomingdales Corporation, Museo de Arte Contemporaneo de Buenos Aires and Muzeum umení Olomouc, Czech Republic. 

His most recent exhibitions were at, Spencer Brownstone Gallery (2017), MACBA (2015), Galerie Caesar (2015), The Museum of Geometric & Madi Art (2013), Kent Place Gallery (2012), Minus Space (2012)

Mark Dagley Description

Before there was art:

Growing up, I liked collecting rocks and fossils, breeding tropical fish and playing classical guitar. I began painting seriously as a teenager and my goal was to become a professional artist.

 

Mentor:

I had an instructor in high school named Raymond Wilkins who was a fine oil painter and proficient in all mediums. He was a very passionate teacher. He introduced me to the world of art and encouraged me to investigate the local scene: the Washington Color School. I was particularly drawn to the work of Gene Davis, Morris Louis and Anne Truitt.

[Dagley also took classes with Ed McGowin and attended the Corcoran School of the Arts & Design while still in high school and later studied painting, video and electronic music at the School of the Museum of Fine Arts.]

 

 

Colorists and Mannerists:

Color has always been a primary interest of mine and the Venetian colorists—Veronese, Titian, Tintoretto—maintain their appeal. I’ve also always enjoyed Mannerist art: Bronzino, Ghirlandaio, Parmigianino. The mythological and overworked hyper-detailed paintings of Joachim Wtewael are especially fascinating.

 

 

Schooled by color:

Having grown up in Washington D.C. when I did, I couldn’t help but be influenced by the Color School. Their discoveries and use of materials continue to inform my work. Like the Mannerists, their compositions seem to constantly change dimensionality.

 

 

A certain type of magic:

Painters are probably the most vexed by their own work. Even the smallest change can cause a total reworking of a painting. Many times a painting takes on a life of its own and a certain type a magic occurs. It starts telling the artist what needs to be done.

 

 

Qualities musical and otherwise:

Since I am also a musician, I tend to use elements and techniques of composition and performance in my visual art. Many color decisions are based on triad awareness, for example the use of red, yellow and blue or orange, green and purple. With the addition of white or black for mixing, the possibilities are endless.

The qualities I take into consideration when making a painting are repetition and the speed at which images affect the eye, how form and structure affect the body, and how color choices affect all of the above.

[Dagley still studies music at The Juilliard School, has a book and music publishing venture, Abaton Book Company, which he runs with his wife Lauri Bortz, and while living and studying art in Boston, started the art-rock post-punk band The Girls, which also featured artist George Condo, and later on formed the Hi Sheriffs of Blue.]

 

 

The 10,000 Dot Rule:

Each series of work contains a motif. Sometime that motif may be the shape of the canvas itself or just a single color. I may focus on the repetition of a dot, but I’ll use tens of thousand of dots to get the effect I need. This creates a faster paced painting, one that can be seen in a glance. If I want to slow things down, I’ll focus on a series of shapes that force the eye to follow a contour.

 

 

Visual architecture:

I like to create design elements which initiate a composition. My work is a type of visual architecture that allows a narrative of surprise and improvisation to occur. It has a beginning, middle and end; therefore, it’s never truly abstract.

 

 

Seeing things not as they are:

A small child once referred to a three-stepped floor sculpture with a high gloss surface as a “Glass Mountain.” That perception, bordering on the psychedelic, seeing something as it was not, was my favorite description of a specific work.

[Dagley has works at the Museum of Geometric and MADI Art in Dallas, at the Collection Doberman, the University of Michigan Museum of Art, and the Cafritz Foundation, among many others.]

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