Untitled, (Grid), 1966, Acrylic on canvas, 100 x 100 in
Encountering a Jackson Pollock painting in Denver had electrified Christensen as a teenager. During his studies at the Kansas City Art Institute, he and his classmates debated and discussed the merits of Abstract Expressionism. He took an interest in European modernism and tended to favor Cézanne and Matisse over Picasso. Mentored by representational painters, Christensen arrived in New York making paintings that resembled Bay Area figurative art. In short order, he began experimenting with Minimalist Abstraction, which at the time was popular with many younger New York artists.
The New York art scene of the 1960s was vibrant, competitive, thrilling and dizzying. The legacy of post-war Abstract Expressionism, which had established New York as the center of the international art market, could be seen in the increasing number of museums, galleries and publications. The social hub for artists had moved from the smoky Cedar Bar to a nightclub and celebrity hangout called Max’s Kansas City. New artistic directions included Pop, Minimalism and Conceptualism. In many respects, these new developments presented challenges to the values of Abstract Expressionism which had emphasized the importance of an artist’s actions—expressed through drips and active brushwork—and the vivid depiction of inner states and worlds. Pop, for example, responded to consumer culture by incorporating familiar imagery taken from advertisements or comics. Minimalism, with its predilection for geometry and reduced color, argued that abstraction needed to be restrained by formal rigor. Conceptualism, the most rarefied approach of all, prioritized ideas over imagery.
Essay continues on page 6
Hong Kong I, 1969, Acrylic on canvas, 97 x 131 in
in the prestigious Whitney Annual. This sprawling exhibition, devoted entirely to painting, featured one work each by 165 artists who were listed alphabetically in the catalog, from Albers to Zox. Even in this crowded environment, Christensen’s work made a powerful impression, and the Whitney Museum soon acquired the first of three Christensen paintings that would enter its permanent collection.
During this period Christensen, always interested in new tools and methods, developed a series of large abstractions, “Sprays and Loop/Freeforms,” that were painted with an automotive spray gun. The rhythmic, loops, ovals and ribbons Christensen sprayed onto his canvases were both an homage to Jackson Pollock, who had painted with auto enamel, and an opportunity to experiment with blurred forms. It was these paintings that brought the artist critical acclaim and connected him with Lyrical Abstraction, an approach that was first mentioned in post-war France and emerged as a movement in the United States, Canada and Britain in the mid1960s. Formed largely in reaction to Minimalism and Pop Art, Lyrical Abstraction brought together artists who created gestural and atmospheric abstractions and were interested in both re-invigorating the painterly side of American art and extending the range of contemporary abstraction towards a greater sensuousness.
Christensen’s paintings from 1968, which contain suspended forms, including stacked loops, bars and unruly ribbons of color, were vital and expressive. As Artforum critic Max Kozloff observed: “He (Christensen) has developed an impressive, blurring fluency with the spray gun as a painting instrument…” Kozloff also commented that Essay continues on page 10
Magellan's Gravy, 1969, Enamel on canvas, 79.75 x 76.75 in
Untitled (Plaid), 1969, Acrylic on canvas, 62 x 60.5 in
abstraction. Christensen’s sensitivity to color and materials, which was so apparent in his spray pieces like this one, gained him the admiration of his peers and made his work influential. An admiring critic reviewing his 1969 exhibition at Andre Emmerich Gallery commented on the “delicacy of perception” in Christensen's work and wrote of one of his spray paintings that it hovered “between the sensuous and the formal in the control of lighted color, slightly offbeat in harmony.”
A lesser painter might have responded to this wave of commercial and critical success by repeating himself. Christensen, who was committed to innovation, did the opposite and by late 1969 he had already moved on from his spray gun series to making semi-geometric paintings called “Plaids.” These paintings, which included canvases in a new vertical format, were painted on the floor with brushes and rollers in semi-transparent overlays, using both oil-based enamel and acrylic. Their stripes and rectangular forms, which waver just slightly as the result of being painted by hand, challenge the perfectionism of hardedge minimalism. Rich and earthy colors—sometimes traversed by a pulse of deep red— generate sonorous harmonies, highlighting Christensen’s original color sense.
The brown and white “Slabs” of the early 1970s demonstrate Christensen’s continuing interest in finding new ways to manipulate paint. His use of a squeegee and a knife to scrape and remove paint to reveal under-painted layers endows each finished painting with traces of the artist’s efforts to manipulate his materials while searching for a sense of rightness. Subtle and sensitive, these canvases invite intimate inspection and invite viewers to admire the artist’s engagement with paint itself and appreciate his ability to conjure fresh relationships of form and color.
Essay continues on page 14
New Arctic, 1972 - 1973
Acrylic on canvas, 88 x 46 in
Feather Dancer, 1972
Acrylic on canvas, 99.5 x 55 in
Dan Christensen: 20-Year Survey (1969-1989)
Christensen’s early “Scrapes,” painted between 1974 and 1977, introduce some of the forms that would populate his later work including orbs and ovals. Color re-asserts itself in these canvases, often interwoven with underpainting revealed by the scraping process. Rhythmic, flowing zones of color, created by tools including brushes, fingertips and various scrapers, surround pulses of color that are assertively simple and sometimes unexpected. “You have to surprise yourself,” he once philosophized, “and if the surprise holds up you may have got something.” The “Scrapes” show Christensen reveling in a new expressive freedom brought on by a shift in methods, and the resounding response to these works showed that he had indeed “got something.”
Beginning in 1976, Christensen worked on two major bodies of work that he thought of as calligraphic, meaning that the physical gestures were recorded in paint. The “Calligraphic Stains,” which were produced by pouring layers of paint into raw canvas laid on the floor, stimulated Christensen to improvise shapes that often have a connection to nature and landscape. By working his surfaces as the paint soaked in and dried, he was able to find forms that were intuitively right for the mood of each developing composition. The "Calligraphic Scrapes,” extend the improvisational quality of the earlier scrapes, adding drips, linear flurries, and groups of parallel lines made using a rake. The energy of these works reflects Christensen’s affection for the tradition of “Action Painting,” while also contrasting its energies with a restraint gleaned from Minimalism.
Low Rider, 1981
Acrylic on canvas, 98 x 57.50 in
Voodoo Trucker, 1970, Enamel on canvas, 90 x 79.25 in
Georgica Prince, 1984, Acrylic on canvas, 66.5 x 57.5 in
20 Night Garden, 1984
Acrylic on canvas, 80.25 x 38.50 in
21 Untitled, 1986, Acrylic on canvas, 89 x 67 in
Jungle Dance, 1985
Acrylic on canvas, 78.50 x 44 in
Luna Moth, 1972
Acrylic on canvas, 100.50 x 52 in
Bayshore Baby, 1984, Acrylic on canvas, 54.50 x 50 in
Evergreen Midway, 1983, Acrylic on canvas, 52 x 50 in
Land's End,
1971, Acrylic and enamel on canvas, 78 x 116.5 in
Doxy II, 1980, Acrylic on canvas, 66.50 x 51 in
Feax, 1981, Acrylic on canvas, 59.25 x 66.25 in
Piranah Salad, 1981
Acrylic on canvas, 100.50 x 55 in
Pendulum Cove, 1975, Acrylic on canvas, 40.25 x 26 in
Lunar Light,
1972, Acrylic on canvas, 91.50 x 48.50 in
38 Changzhou, 1981, Acrylic on canvas, 68 x 58.5 in
South
Street, 1982, Acrylic on cavns, 59.75 x 51.75 in
Razorback, 1984
Acrylic on canvas, 65.5 x 45.75 in
Congo Blues, 1984
Acrylic on canvas, 49.25 x 86.75 in
Untitled, 1978, Acrylic on canvas, 57 x 59 x 1 in
Untitled, 1982, Acrylic on canvas, 83 x 79 in
Laurel Canyon, 1969, Acrylic on canvas, 23 x 115 in
Dan Christensen (1942–2007)
Born: 1942, Cozad, NE
Died: 2007, East Hampton, NY
Museum Collections:
Albrecht Art Gallery, St. Joseph, MO
Albright-Knox Art Gallery, Buffalo, NY
Boca Raton Museum of Art, Boca Raton, FL
Museum of Fine Arts Boston, Boston, MA
The Butler Institute Of American Art, Youngstown, OH
The Art Institute of Chicago, Chicago, IL
Cleveland Museum of Art, Cleveland, OH
The Dayton Art Institute, Dayton, OH
Denver Art Museum, Denver, CO
Detroit Institute of the Arts, Detroit, MI
Edmonton Art Gallery, Edmonton, Alberta, Canada
Everson Museum of Art, Syracuse, NY
The Fine Arts Museums of San Francisco, San Francisco, CA
Greenville County Museum of Art, Greenville, SC
Guggenheim Museum, New York, NY
High Museum of Art, Atlanta, GA
Hirshhorn Museum and Sculpture Garden, Washington, DC
The Museum of Fine Arts Houston, Houston, TX
Indianapolis Museum of Art, Indianapolis, IN
Kunstmuseum, St. Gallen, Switzerland
Museum für Moderne Kunst, Frankfurt am Main, Germany
Ludwig Collection in the Wallraf-Richartz Museum, Cologne, Germany
Metropolitan Museum of Art, New York, NY
Museum of Art, Fort Lauderdale, Fort Lauderdale, FL
Museum of Contemporary Art, Chicago, IL
Museum of Modern Art, New York, NY
Nelson-Atkins Museum of Art, Kansas City, MO
Robert Rowan Collection, Pasadena, CA
St. Louis Art Museum, St. Louis, MO
Seattle Art Museum, Seattle, WA
Sheldon Memorial Art Gallery, University of Nebraska, Lincoln, NE
Toledo Museum of Art, Toledo, OH
Whitney Museum of American Art, New York, NY
Awards:
1992 Pollock-Krasner Foundation Grant
1986 Gottlieb Foundation Grant
1969 Guggenheim Fellowship Theodoran Award
1968 National Endowment Grant
Selected Solo Exhibitions:
2024 Calligraphic Stains & Scrapes, Berry Campbell, New York, NY
2022 The Painter’s Painter, LewAllen Galleries, Santa Fe, NM
The Harmonious Turbulence of the Universe, Berry Campbell, New York, NY
2019 Stains and Loops, LewAllen Galleries, Santa Fe, NM
Early Spray Paintings, Berry Campbell, New York, NY
2017 Late Calligraphic Stains, Berry Campbell, New York, NY
2015 Berry/Campbell, New York, NY
LewAllen Galleries, Santa Fe, NM
2014 Spanierman Modern, New York, NY
2013 LewAllen Galleries, Santa Fe, NM
2011 LewAllen Galleries, Santa Fe, NM
2011 Spanierman Modern, New York, NY
2011 The Armory Show at the Chelsea Piers (Spanierman Modern), New York, NY
2010 Elaine Baker Gallery, Boca Raton, FL
2009 Dan Christensen: Forty Years of Painting, Sheldon Museum of Art, Lincoln, NE
Spanierman Modern, New York, NY
LewAllen Galleries at the Railyard, Santa Fe, NM
Kemper Museum of Contemporary Art, Kansas City, MO
2008 Elaine Baker Gallery, Boca Raton, FL: Dan Christensen: Paintings
2007 Spanierman Gallery, East Hampton, NY
LewAllen Contemporary, Santa Fe, NM
Dan Christensen (1942–2007)
Spanierman Modern, New York, NY
2006 Pamela Williams Gallery, Amagansett, NY
2005 Skot Foreman Gallery, Atlanta, GA
2004 Ed Thorp Gallery, New York, NY
2002-03 Parrish Art Museum, Southampton, NY (retrospective)
2001-02 Dan Christensen: A 40 Year Survey, Butler Institute of American Art, Youngstown, OH
2001 Dorothy Blau Gallery, Bay Harbor Islands, FL
2000 Salander-O’Reilly Galleries, New York, NY
CS. Schulte Galleries, Millburn, NJ
1999 Salander-O’Reilly Galleries, New York, NY
1998 Dorothy Blau Gallery, Bay Harbor Islands, FL
CS. Schulte Galleries, Millburn, NJ
1995 Jaffe Baker Blau, Boca Raton, FL
CS. Schulte Galleries, Millburn, NJ
1994 Douglas Drake Gallery, New York, NY
Gallery ISM, Seoul, Korea
1993 ACA Galleries, New York, NY
Eva Cohon Gallery, Chicago, IL
Vered Gallery, East Hampton, NY
1991 Salander-O’Reilly Galleries, New York, NY
Douglas Drake Gallery, New York, NY
Salander-O’Reilly Galleries, Beverly Hills, CA (with John Griefen)
1990 Vered Gallery, East Hampton, NY
1989 Vered Gallery, East Hampton, NY
Gloria Luria Gallery, Miami, FL
1988 Douglas Drake Gallery, New York, NY
1987 Lincoln Center Gallery, New York, NY
Douglas Drake Gallery, New York, NY
1984 Salander-O’Reilly Galleries, New York, NY
Lincoln Center Gallery, New York, NY
Meredith Long and Company, Houston, TX
Douglas Drake Gallery, Kansas City, MO
Bank of America, San Francisco, CA
Il punto blu, Southampton, New York, NY
Edwin A. Ulrich Museum of Art, Wichita State University, Wichita, KS
1983 Salander-O’Reilly Galleries, New York, NY
Lincoln Center Gallery, New York, NY
Carson Sapiro Gallery, Denver, CO
1982 Ivory/Kimpton Gallery, San Francisco, CA
Salander-O’Reilly Galleries, New York, NY
Douglas Drake Gallery, Kansas City, MO
1981 Salander-O’Reilly Galleries, New York, NY
Gallery 700, Milwaukee, WI
Douglas Drake Gallery, Kansas City, MO
Meredith Long and Company, Houston, TX
Gloria Luria Gallery, Miami, FL
Harcus Krakow Gallery, Boston, MA
1980
1979
Meredith Long Contemporary Gallery, New York , NY
Meredith Long and Company, Houston, TX
Douglas Drake Gallery, Kansas City, MO
University of Nebraska at Omaha Art Gallery, Omaha, NE
Meredith Long Contemporary Gallery, New York, NY
Douglas Drake Gallery, Kansas City, MO
Meredith Long and Company, Houston, TX
1978
1977
1976
Meredith Long Contemporary Gallery, New York, NY
Douglas Drake Gallery, Kansas City, MO
Meredith Long and Company, Houston, TX
Gloria Luria Gallery, Miami, FL
B.R. Kornblatt Gallery, Baltimore, MD
Douglas Drake Gallery, Kansas City, MO
Andre Emmerich Gallery, New York, NY
Watson/de Nagy Gallery, Houston, TX
1975 Andre Emmerich Gallery, New York, NY
1974
Greenberg Gallery, St. Louis, MO
Rothman’s Art Gallery, Stratford, Ontario, Canada
Andre Emmerich Gallery, New York, NY
Jared Sable Gallery, Toronto, Ontario, Canada
1973 Edmonton Art Gallery, Edmonton, Alberta, Canada
1972 Nicholas Wilder Gallery, Los Angeles, CA
Andre Emmerich Gallery, New York, NY
1971 Galerie Ricke, Cologne, Germany
Andre Emmerich Gallery, New York, NY
1970 Nicholas Wilder Gallery, Los Angeles, CA
Dan Christensen (1942–2007)
“Springs Invitational,” Ashawagh Hall, East Hampton, NY
2003 “Black and White,” Lizan Tops Gallery, East Hampton, NY
Sideshow Gallery, Williamsburg, Brooklyn, NY
“Big Canvas - Paintings from the Permanent Collection,” Sheldon Memorial Art Gallery, Lincoln, NE
The Hamptons-Parrish Art Museum, Southampton, NY
2002 Sideshow Gallery, Williamsburg, Brooklyn, New York
“Important Works on Paper,” Meredith Long & Company, Houston, TX
1988 Vered Art Gallery, East Hampton, NY
“Farbfeldmalerei New York 1968” (with Lawrence Stafford and Peter Young), Galerie Rolf Ricke, Cologne, West Germany
1987 “10th Season Gala Opening,” Vered Art Gallery, East Hampton, NY
“Opening Exhibition,” Douglas Drake Gallery, New York, NY
Soghor, Leonard & Associates, New York, NY
Robert Kidd Gallery, Birmingham, MI (with sculptor Jay Lefkowitz)
“Gone Fishing,” Graham Modern Gallery, New York, NY
1986
1985
Douglas Drake Gallery, Kansas City, MO
“Artists of the Region Invitational,” Guild Hall, East Hampton, NY
Douglas Drake Gallery, Kansas City, MO
Nelson-Atkins Museum, Kansas City, MO
“Color Abstraction,” Baruch College Gallery, New York, NY
Vered Gallery, East Hampton, NY
“Pop Op Plus,” Spencer Museum, Lawrence, KS
“Philip Johnson: Selected Gifts,” Museum of Modern Art, New York, NY
1983 “Special Projects,” P.S. 1, Long Island City, Queens, NY
Adam L. Gimbel Gallery, New York, NY
Sarah Y. Rentschler Gallery, Bridghampton,
Dan Christensen (1942–2007)
NY
Oil & Steel Gallery, New York, NY
Carson Sapiro Gallery, Denver, CO
1982 “Color II,” Martha White Gallery, Louisville, KY
“Points of View: 1982,” The University of Oklahoma at Norman, Norman, OK
Kenneth G. Heffel Fine Art, Inc., Vancouver, British Columbia, Canada
“Miro in America,” The Museum of Fine Arts
Houston, Houston, TX
“Contemporary Paintings and Sculpture II: 1950-1981,” Oil & Steel Gallery, Long Island City, Queens, NY
“Americans on Paper,” Meredith Long and Company, Houston, TX
“46th Annual National Midyear Show,” Butler Institute of American Art, Youngstown, OH
Douglas Drake Gallery, Kansas City, OH
1981 “New Work on Paper I,” The Museum of Modern Art, New York, NY (also shown at The Museum of Fine Arts, Houston, and at The La Jolla Museum of Contemporary Art)
“Works on Paper,” Harcus Krakow Gallery, Boston, MA
Nina Freudenheim Gallery, Buffalo, NY
“Kansas City,” Sheldon Art Gallery, University of Nebraska, Lincoln, NE
“Dealer’s Choice,” University of Missouri, Kansas City, MO
“Group Show,” Noah Goldowsky Gallery, New York, NY
“Art of the Decade 1960-70: Paintings from the Collections of Greater Detroit,”
Oakland University, Rochester, MI
“The Structure of Color,” Whitney Museum of American Art, New York, NY
“Lyrical Abstraction,” Whitney Museum of American Art, New York, NY
“Six Painters,” Albright-Knox Gallery, Buffalo, NY (also shown at The Baltimore Museum of Art, 1971-72, and at the Milwaukee Art Center, 1972)
“The Deluxe Show,” Houston, TX
“Spray,” Santa Barbara Museum of Art, Santa Barbara, CA
1970 “Color and Field 1890-1970,” Albright-Knox Gallery, Buffalo, NY (also shown at Dayton Art Institute, Dayton, OH, 1971, and at the Cleveland Museum, Cleveland, OH, 1971)
1969 Whitney Annual, Whitney Museum of American Art, New York, NY
Corcoran Museum Biennial, Washington, DC
“Theodoran Award Group,” Guggenheim Museum, New York, NY
“Here and Now,” Washington University Gallery of Art, St. Louis, MO
“Contemporary American Painting & Sculpture from the Collection of Mr. & Mrs. Eugene M. Schwartz,” Everson Museum, Syracuse, NY
(also shown at the University Art Gallery, Albany, NY, 1969-70)
“Highlights of the 1968-69 Art Season,” The Aldrich Museum of Contemporary Art, Ridgefield, CT
The George Waterman Collection, Museum of Art, Rhode Island School of Design, Providence, RI
1968 “Recent Acquisitions,” Whitney Museum of
American Art, New York, NY
Galerie Ricke, Kassel, Germany
Tibor de Nagy Gallery, New York, NY
1967 Galerie Zwiner, Cologne, Germany
Whitney Annual, Whitney Museum of American Art, New York, NY
1966 Oberlin College, Oberlin, OH
Bianchini Gallery, New York, NY
Noah Goldowsky Gallery, New York, NY
1965 Green Gallery, New York, NY
BIBLIOGRAPHY
(in chronological order):
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Dan Christensen (1942–2007)
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Dan Christensen (1942–2007)
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