Mark Dagley

Artwork     EXHIBITS     News/Press     CV/BIO     Painting    Print    Sculpture   
Featured Piece
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.]

PRESS

Mark Dagley
Wall Street International Magazine, 03/11/2019

Monday, March 11, 2019
MORE

Mark Dagley
ArtDaily.org, 03/04/2019

Monday, March 4, 2019
MORE

The Weekender
Mark Dagley Neo Op
GalleriesNow.Net, 03/01/2019

Friday, March 1, 2019
MORE

EXHIBITIONS

Mark Dagley
Friday, March 1, 2019 - Sunday, March 31, 2019
MORE


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 Arcturus Acrylic on canvas 1999 24 x 86 at David Richard Gallery Arcturus
Acrylic on canvas   2011
25 x 85.5 x 1.5 in
Call For Price
DAGM13251
Mark  Dagley Mark Dagley Blue Orb 1997  Pigment on paper 20 x 20 at David Richard Gallery Blue Orb
Pigment on paper   1997
20 x 20 in

Framed
DAGM13340
Mark  Dagley Mark Dagley Cannonball Acrylic on canvas 30 x 30 at David Richard Gallery Cannonball
Acrylic on canvas   2011
30 x 30 in
Call For Price
Framed
DAGM13253
Mark  Dagley Mark Dagley Cul de Dac II 2001 Acrylic on linen 72 x 68 at David Richard Gallery Cul de Sac II
Acrylic on linen   2001
72 x 68 x 1.25 in
Call For Price
DAGM13131
Mark  Dagley Mark Dagley Five Part Painting (big) Mixed meduims 2001 47 x 69 x 1.5 at David Richard Gallery Five Part Painting (big)
Mixed meduims   2001
45.5 x 67.25 in
Call For Price
Framed
DAGM13254
Mark  Dagley Five Part Painting (small) Five Part Painting (small)
Mixed Mediums   2001
24.5 x 35 in
Call For Price
Framed
DAGM13320
Mark  Dagley Mark Dagley Fluuds Universe_32x32x80_kk2ogw_0 Wood glass geodesic model 80 x 30 x 30 at David Richard Gallery Fluuds Universe_32x32x80_kk2ogw_0
Wood glass geodesic model  
80 x 30 x 30 in
Call For Price
DAGM13255
Mark  Dagley Mark Dagley Four Color Orbs A 2016 Acrylic on canvas 36 x 36 at David Richard Gallery Four Color Orbs A
Acrylic on canvas   2016
36 x 36 in
Call For Price
Framed
DAGM13130
Mark  Dagley Mark Dagley Green _ Gray Orb Acrylic and mixed mediums on unprimed canvas 2006 66 x 66 at David Richard Gallery Green & Gray Orb
Acrylic and mixed mediums on unprimed canvas   2007
66 x 66 x 1.25 in
Call For Price
DAGM13256
Mark  Dagley Mark Dagley Loudmouth Baby Acrylic on canvas 24 x 38 at David Richard Gallery Loudmouth Baby
Acrylic on canvas   2010
24 x 38 in
Call For Price
Framed
DAGM13257
Mark  Dagley Mark Dagley Maroon Purple Black Orb 2006 Acrylic and mixed mediums on unprimed canvas 2006 67.5 x 68 at David Richard Gallery Maroon Purple Black Orb
Acrylic and mixed mediums on unprimed canvas   2006
67.5 x 68 x 1.25 in
Call For Price
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   2000-2006
84 x 84 x 1.5 in
Call For Price
DAGM13132
Mark  Dagley Mark Dagley Oblivion Express Acrylic on canvas 2009-2019 71.75 x 98.25 x 2 at David Richard Gallery Oblivion Express
Acrylic on canvas   2009-2019
71.75 x 98.25 x 2 in
Call For Price
DAGM13334
Mark  Dagley Mark Dagley Orange and Bronze Polygon Chain 44.5 x 138 at David Richard Gallery Orange and Bronze Polygon Chain
Acrylic and pencil on canvas   2011
44.5 x 138.5 x 1.25 in
Call For Price
DAGM13252
Mark  Dagley Mark Dagley Phalanx 2009 Acrylic on canvas 65.5 x 52.5 at David Richard Gallery Phalanx
Acrylic on canvas   2009
65.5 x 52.5 x 1.5 in
Call For Price
DAGM13260
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 x 1.5 in
Call For Price
DAGM13137
Mark  Dagley Mark Dagley Primary Color Vortex (Red_ Yellow _ Blue Dot Painting) Acrylic and pencil on canvas 50 x 50 at David Richard Gallery Primary Color Vortex (Red, Yellow, Blue Dot Painting)
Acrylic and pencil on canvas   1996
53.25 x 53.75 x 1.25 in
Call For Price
DAGM13133
Mark  Dagley Mark Dagley Purple Orange Orb Acrylic and mixed mediums on unprimed canvas 2006 67 x 57 at David Richard Gallery Purple & Orange Orb
Acrylic and mixed mediums on unprimed canvas   2007
58 x 61 x 1.5 in
Call For Price
DAGM13261
Mark  Dagley Mark Dagley Purple Orb 2009  Oil on linen 25.75 x 26 x .5 at David Richard Gallery Purple Orb
Oil on linen   2009
25.75 x 26 x .5 in
Call For Price
Framed
DAGM13336
Mark  Dagley Mark Dagley Purple and Black Orb Acrylic and mixed mediums on unprimed canvas 2006 68 x 72 at David Richard Gallery Purple and Black Orb
Acrylic and mixed mediums on unprimed canvas   2006
68.25 x 68 x 1.25 in
Call For Price
DAGM13262
Mark  Dagley Mark Dagley Quadrifolia 2011 Acrylic on canvas 60 x 40 x 1.5 at David Richard Gallery Quadrifolia
Acrylic on canvas   2011
60 x 40 x 1.5 in
Call For Price
DAGM13263
Mark  Dagley Mark Dagley Red and Black Orb Acrylic and mixed mediums on unprimed canvas 64 x 64 at David Richard Gallery Red & Black Orb
Acrylic and mixed mediums on unprimed canvas   2006
64 x 63 x 1.5 in
Call For Price
DAGM13136
Mark  Dagley Mark Dagley Red on Red Orb Acrylic and mixed mediums on unprimed canvas 58 x 58 at David Richard Gallery Red on Red Orb
Acrylic and mixed mediums on unprimed canvas   2006
64 x 58 x 1.5 in
Call For Price
DAGM13264
 NEXT >

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.]

Top of Page