Monique van Genderen in her studio, Los Angeles, CA, 2024.
Photo credit: Lile Kvantaliani
Monique van Genderen (b. 1965 in Vancouver, Canada) received her Master of Fine Arts from the California Institute of the Arts, Valencia, CA and her Bachelor of Fine Arts from the University of California at San Diego, San Diego, CA.
She has presented solo exhibitions most recently at Galerie Richard, Paris, France; Quint Gallery, La Jolla, CA; Miles McEnery Gallery, New York, NY; Bernier/Eliades, Brussels, Belgium; Galerie Michael Janssen, Berlin, Germany; Vielmetter, Los Angeles, CA; R.B. Stevenson Gallery, La Jolla, CA; Hochschule für Grafik und Buchkunst, Leipzig, Germany; TAI Modern, Santa Fe, NM; Galleri Brandstrup, Oslo, Norway; D’Amelio Gallery, New York, NY; Effearte, Milan, Italy; Kunstverein Heilbronn, Heilbronn, Germany; and Pacific Design Center, Los Angeles, CA.
Van Genderen has been included in group exhibitions at numerous international institutions such as the Albertina Museum, Vienna, Austria; Corcoran Gallery of Art, Washington, D.C.; Hammer Museum, Los Angeles, CA; Japanese American National Museum, Los Angeles, CA; Kunstmuseum St. Gallen, St. Gallen, Switzerland; Kunstverein am Rosa–Luxemburg–Platz, Berlin, Germany; Le Consortium, Dijon, France; Museum of Contemporary Art, North Miami, FL; Museum of Contemporary Art San Diego, San Diego, CA; The New Museum, New York, NY; Schauwerk Sindelfingen, Sindelfingen, Germany; U.S. Embassy, Paramaribo, Suriname; and the Weatherspoon Museum of Art, University of North Carolina at Greensboro, Greensboro, NC.
Her work may be found in the collections of AIG SunAmerica Inc., Los Angeles, CA; Albertina Museum, Vienna, Austria; Altoids Curiously Strong Collection, Peoria, IL; Eileen Harris and Peter Norton Family Foundation, Santa Monica, CA; Institut Valencià d’Art Modern, Valencia, Spain; KB Home, Los Angeles, CA; Le Consortium, Dijon, France; Los Angeles County Museum of Art, Los Angeles, CA; Minnesota Museum of American Art, St. Paul, MN; Montblanc Cutting Edge Art Collection, Hamburg, Germany; Museum of Contemporary Art San Diego, San Diego, CA; Pennsylvania Academy of Fine Arts, Philadelphia, PA; the U.S. Department of State, Washington, D.C., and elsewhere.
She is the recipient of a Project Commission for Murals for La Jolla, La Jolla, CA; the Chiaro Award, Headlands Center for the Arts, Sausalito, CA; Federal Courthouse Building Art Commission for the GSA, Arts and Architecture Program, Harrisburg, PA; and the West Hollywood 1% for the Arts Public Art Commission, West Hollywood, CA. In 2006, van Genderen was shortlisted for the Castellón County Council III International Painting Prize, Castellón, Spain and, in 2004, was an Artist in Residence at the Chinati Foundation in Marfa, TX.
The artist lives and works in Los Angeles, CA.
We are thrilled to return to The Armory Show for the fair's 2023 edition at the Javits Center.
Miles McEnery Gallery is delighted to present an exhibition of works by gallery artists at the 2023 edition of EXPO CHICAGO.
As part of the Murals of La Jolla Project, Monique van Genderen's mural, titled Paintings Are People Too, is currently up at 7661 Girard Ave, La Jolla, California.
Paintings Are People Too, by Monique van Genderen, is a reconsideration of humanity, of what it means to be human in the social climate of today. By utilizing her vertical paintings as stand-ins for people, van Genderen reflects on some of the pressing issues facing our citizenry, the de-humanizing effects of new communication technologies, and the physical displacements happening in urban centers.
Headlands Center for the Arts is pleased to present Monique van Genderen with the Chiaro Award for painting.
MCASD Downtown is pleased to present:
Being Here with You/ Estando aquí contigo
20 September 2018 – 03 February 2019
by David Pagel
The size of Monique van Genderen’s paintings on linen and aluminum panel dwarf visitors to her exhibition at Susanne Vielmetter Los Angeles Projects in Culver City.
Four giant paintings run from one inch above the gallery floor to within one inch of the top of the 14-foot walls. Each of the untitled works is 6½ feet wide.
Ten paintings are hung side by side so that you can see the sweeping gestures van Genderen has made with rags, rollers and mops. The suite measures more than 40 feet long and 8 feet tall. A large part of a wall had to be removed so that this freight train of a painting could hang on a single wall. The jagged edges of the removed section attest to the power of this abstract landscape, whose 10 panels, lined up like boxcars, seem go on forever.
Shila Khatami (b. 1976) is a visual artist who studied at the Fine Arts Akademie of Munchen and the Fine Arts Akademie of Dusseldorf, where she graduated in 2004.
Monique van Genderen to partipate in four artist show, Stray Edge, at Guggenheim Gallery, Chapman University.
In a unique survey exhibition that SCHAUWERK Sindelfingen shows exclusively works by artists from the collection Schaufler. More than 30 well-known women of contemporary art, including Sylvie Fleury, Isa Genzken, Katharina Grosse, Roni Horn, Barbara Kruger, Sherrie Levine, Jessica Stockholder and Rosemarie Trockel, are entitled LADIES FIRST! united. The approximately 100 works presented include photography, video, painting and installation. At the same time illustrate the different approaches, such as taking artists who sometimes still male-dominated art scene for themselves.
By Ed Schad
It is worth pausing, at least for a moment, to think of the differences between Monique van Genderen’s four super-large paintings in the opening gallery of Susanne Vielmetter and the paintings of the era about which van Genderen is pointedly thinking: the broad and massively scaled canvases of Abstract Expressionism. Notably, the limitations of the studio set parameters of van Genderen’s paintings. The canvases are so large that she was forced to work on them both on the floor and on the wall, not knowing what they would look like when stretched and extended at Vielmetter.
The Canadian-born, Los Angeles-based painter is a master colorist who fetishizes the brushstroke to striking effect. For this exhibition of recent paintings she opted for a kind of reverse working method. Instead of creating sketches and studies for a larger painting, Van Genderen made the large work first and endeavored, on six smaller canvases, to recreate sections of that painterly abstraction that were as true to the original painting as possible. The small-scale “copies” could theoretically be reassembled to ape the original piece.
It was Heraclitus who proclaimed, “No man ever steps in the same river twice, for it’s not the same river and he’s not the same man.” This aphorism echoes through the work of Monique van Genderen. For her solo exhibition at Ameringer | McEnery | Yohe in New York, the artist has created the large-scale painting Untitled (2014), alongside six smaller paintings comprising extracts of the first. Together they form a body of work of continuous movement and endlessly shifting grounds.
The paintings of Monique van Genderen are something to move into: spaces defined by shape, color, depth, and motion. Van Genderen, a self-described nonobjective abstractionist, is hard to pin down to a particular genre or art movement, although her work touches on quite a few — including Abstract Expressionism, color-field painting, and Abstract Illusionism — while remaining in a class by itself. “I am working with a lot of elements of illusion, specifically conceptual illusions, playing with people’s expectations of what they’re looking at,” she told Pasatiempo. “Sometimes I landed in the color-field genre because I was making more reduced paintings with shapes I collaged together. But I’m really attempting to make every painting pretty different.” With notable, well-received exhibits on both coasts under her belt, van Genderen, a Los Angeles-based artist, comes to Santa Fe for her inaugural show at TAI Modern.
