KEN CRO-KEN
                             
         
EXHIBITION HISTORY
 
The

  
 
KC-K , Heckscher Museum Talk, Huntington, Long Island, N.Y., 2008
 
- Selected Exhibitions -
INTERNATIONALLY: Auckland & Christchurch, New Zealand; Linz, Austria; Budapest, Hungary; 
Rome, Italy; 
NATIONALLY: Longboat Key Center for the Arts / Ringling College of Art and Design, Sarasota and Saint Petersburg, Florida
Washington, D.C.;
San Francisco,  Santa Barbara & San Diego, Ca.; Boston, Mass.; Pittsburgh, Pa.;
Boston, Mass.; 
Manhattan, Brooklyn and Long Island, New York
(BIO BELOW C.V.)

Ken Cro-Ken Curriculum Vitae

EDUCATION:                                   
1997 MASTER’S DEGREE, M.A., NYU, New York University; Art     
1994-1997  Received the NYU Centennial Scholarship for scholastic achievement every semester,                                                                                                                                                                                1994 BACHELOR OF PROFESSIONAL STUDIES, B.P.S., State University of New York  (Interdisciplinary degree) ; Art, Business, English                                                                                
2002 Summer Residency for Olympia College at the last rainforest in the United States, Oregon/Washington State border       

SOLO, TWO & FOUR PERSON EXHIBITIONS:
2015  "The Mix", Four Person Show,OXHEART, NOoSPHERE, New York, NY Sept 9th to 29th 
2012  “PAINT AND NATURE”, The Greenable Museum, Woodbridge Township, N.J., Feb. 11 - Oct. 13
2012  Ringling College, Longboat Key Center for the Arts, Sarasota, Fla.; Jan. 5 – Feb. 24
2007  “C0LLISI0NS”, Gallery OneTwentyEight, N.Y., N.Y., June 9 - July 12 200Adrian Howard Gallery, St. Petersburg, Florida  April 11 - May 7                                                                                                         2005  Adrian Howard Gallery, St. Petersburg, Florida  Feb. 12 - June 14
2004  “EARTH TO KEN”, Gallery OneTwentyEight, N.Y., N.Y., May 3 - June 8
1982  "MACRO/MICRO", Canterbury Society of Art,  Christ Church, New Zealand  July 3 - August 7
1982  "MACRO/MICRO", Auckland Society of Art, Auckland, New Zealand,  May 2 - June 7
                                                                                                                                                                                                                                                                         
SELECTED GROUP EXHIBITIONS:   
2016 Summer and Winter Group Show, Whitebox, NYC
2015 ART BASIL, MIAMI, with Whitebox NYC, "Anvil" video installation New York, NY
                                                                                                                                                                                       
2015 Oxheart Gallery, August 6th to August 29th, New York, NY
2015
  Mikhail Zakin Gallery, Demarest, N.J., January 10th to February 25th
2014  National Museum of Asian Art, Rome, Italy (video with Kazuko Miyamoto) June 17 – Sept 15                                                                                                                                      
2015, 
2014, 13, 12, 11, 10, 09, 08, 07, 06, 05, 04, Gallery OneTwentyEight, New York, N.Y.,                                                                                                                                                     
2013  Hayden Planetarium, New York, N.Y.,  July 7 - July12                                                                                                                                                                                                        
2010 World Monuments Gallery, NY, NY, August 11 - Sept 5 - 26 & Dec. 6 - 30
2010  Art League of the Chathams, Chatham, N.J. Winter Show  Jan.13 - March 3                                                                                                                                                               

2009 Chelsea Museum, N.Y., N.Y.
2007  2B Gallery, Budapest, Hungary, October 12 - November 12
2007, 2006, 2005  Adrian Howard Gallery, 
St. Petersburg, Florida., Group Show
2006  Neue Galerie Linz, Austria
1997  Washington Square Galleries, N.Y., N.Y.,  Spring Graduate Exhibition
1996, 1995  Pulse Art Gallery, New York, N.Y.,
1985, 1986  Metropolitan Gallery, Huntington, N.Y.,                     
1982  The Copley Society, Boston, Mass., Oct. & Nov.
1982  Boston City Hall, Main Gallery, Mass., June 10 - July 31
1981, 1982  San Diego Performing Arts Center, San Diego, Ca.;  December, January, July & November
  >                         

SELECTED "TIME RELEASED" LIVE PAINTING PERFORMANCES
     
THE NEW YORK TIMES  -
The most unusual work I encountered was “Multiple Oneness,” an intriguing performance-art piece by  the oboist Matt Sullivan and the painter Ken Cro Ken.  While Mr. Sullivan played a melancholy lament over recorded sounds,   Mr. Cro-Ken poured liquids onto a canvas projected onto a video screen. The colorful liquids flowed through the painting’s raised surfaces like yellow lava, swirling in strange tandem with the oboe’s melancholy tunes. -
VIVIEN SCHWEITZER,  FEBRUARY 22, 2011                                                       
2013  Redlands, Ca.; International Double Reed Convention, Live Painting Performance June 27th                                                                                                                                                                  2012  White Box Performance Space, Performance, Aug. 25th
2012  Longboat Key Center for the Arts, Ringling College of Arts, Fla., Live Painting, Performance, Jan. 5th                                                                                                                                                     2011  Symphony Space, NY, NY., Performance, Live Painting Performance, February 21st
2010  NYU, Frederick Loewe Theater, NYU, NY, NY, Live Painting Performance, June 19th
2010  NYU, World Monument Fund Gallery, NY, NY, Live Painting Performance, Jan. 9th
2008  The Heckscher Museum, Huntington, N.Y. Time Released Video & Lecture, June 19th
2004  C.B.G.B.’s,
Gallery, New York, NY,  "Sonic Voyeurs", Live Painting Performance, May 16th
2004  C.B.G.B.'s, Gallery, New York, N.Y.,  "Collisions", Live Painting Performance, April 4th

TV BROADCAST, Half Hour Television Show:                                                                                                                                                                                                                                                              2012, 2013  “Ken Cro-Ken at The Greenable Museum”,                                                                                                                                                                                                                 ……………...Channel 35 & 36, Woodbridge Township, NJ; Repeated broadcast.

My fascination with painting began at 13 years of age when my father set me loose at an art store saying - "Get whatever you want!".  I headed straight for the tubes of oil paint and canvases.  For the next ten years,  I sought through art movements from realism to abstraction;  through Junior High and Senior High school art competitions with Dr. Richard Schreiner.  Half way through college  I studied with British Painter and Sculptor,  Robert Bradford at San Diego State University.  He triggered the thought to "just see what is there... "not outside of the room", "not outside your thoughts" but what is literally there in front of me. Mr. Bradford brought to light Hans Hoffmann's push-pull theory that existed within my art.   I began to see the actual.  It was precisely at this same time at S.D.S.U., that I had the great fortune of gaining mentorship with world renowned Conceptualist Artist, Robert Morris. His short visit as Artist-In-Residence at S.D.S.U. in 1980, has made a lasting impression on how I approach art and society.  Robert Morris spoke of conceptual ideas that were in themselves works of art.  For example, Morris mentioned an arts-in-public-places project he had completed in Atlanta.  He took a number of sticks of dynamite, placed them in the ground and set them off; creating a huge hole.  Then he placed a sign next to it saying- "ONE ONE-MILLIONTH OF A MEGA-TON BLAST".  I began to see the importance of the literal as counterpart to the metaphoric and began to see the actual.  Actual thought and the actual world dominated my equation of "art and life".  This led to my ironically discovering the "actual".  I further understood the actual in how Morris brought thought to action within the actual world.  It was then that I realized that this "equation" led me to question everything, down to the tools, which, led to the "Speed Element" palette I discovered and developed at  22 years of  age.  to the present time; more than 30 years later.  Ironically, this led to my discovering the actual.  I started at the beginning and began to question my materials, as well as my approach.  I am pleased to say that I never had to abandon being a painter to be an Earthwork / Ecosystem artist.

My professional career as an artist began professionally in 1982 with two exhibitions, "Macro-Micro", in the largest city, Aucklandand; on the North Island; and on the South island  in Christ Church. This included several newspaper articles and several half hour radio talk shows in Auckland, Christchurch and Rotorua, N.Z..  These exhibitions, , were based on the circular three inch mini painting that are today an integral part of my art.  One is also immediately struck with the large gallery space and the small paintings that dotted its' walls.  What was being stresses was the concept of scale.  Art work does not need to be monumental scale to convey the enormity of space.

The decade that followed, the 1980's, was a time to develop the palette I had created and begin to understand the essential balance I needed to strike between my "inner and outer self".  Emerging from this personal journey and time spent with the emerging art scene of that decade, I returned to the academic world  to receive a Master’s degree in Art from New York University with sculptor and head of the N.Y.U., Steinhardt School Art Department, John Torreano as my mentor.  John Torreano brought out the "why, why why?!" that led me to commit to this marriage between myself and the world; to become the environment / ecosystem painter that I am today.  He, together with the brilliant art historian, Saul Ostrow at N.Y.U. brought me face to face with my art and my time.  Torreano and Ostrow both stressed the importance of-  "Content! Content! Content!  Do everything with meaning and purpose."  What struck me most was to consider the idea that art not just refer to itself but a means to an ends", to be used as a vehicle to deal with contemporary issues on a personal, social and/or political level.


Whether I am on the roof garden studio in Manhattan's East Village, on 2nd Street between Avenues B & C or at the indoor studio, I am still an ecosystem painter because Nature is all around us.  I don't deny or avoid Nature's influence.  Why would I want to exclude the most fascinating and inseparable aspect of life... Nature.  I ride Nature's coattails with amazement and fascination. 


Please have a look at some of my paintings below.


Then, you can click on the link below to see more of my Speed Element paintings:

http://www.kencroken.com/KC-K_PAINTING_GALLERY.html

Or

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