LOGIN
Sign Up
HOME
ARTWORKS
NEWS
Close
1xRUN Logo
Login to 1xRUN
Sign up for early access to releases, exclusive offers, and 10% off your first purchase.
Connect with Facebook
Connect with Google
or
Sign up with your email address:
Log In with your email address:
Register
Login
Remember Me
Forgot Password?
By signing up, you agree to our
Terms of Use and Privacy Policy

Trevor Young
D.C.
To follow Trevor Young you must be a member.
Already a member? Log In
FOLLOW
Trevor Young is a quintessentially American painter. He makes no bones about his affection for the trappings of car culture, life on the road, and 1960s West Coast art. His main subject is modernism’s footprint on the outposts of Americana—places typified by harsh artificial light and hard shadows on concrete. The show makes clear that for Young, despite the contemporary art world’s preferences for irony, disjunction, and tongue-in-cheek intellectual gamesmanship, painting is at its best when it attempts to offer an unpretentious accounting of where and how we live our day-to-day lives.

The celebrations of urban sprawl offered by artists like Ed Ruscha—who famously took no-nonsense aerial photographs of thirty four LA parking lots in 1967, and created sleek, stripped down paintings of Standard Oil stations—are an obvious point of reference in Young’s work. But Young’s choices seem more personal than Ruscha’s, and his technique is certainly more painterly: His images of gas stations are uneasy amalgamations, cobbled together from his own memories of road trips, photographs, and pure invention, and rendered with a sense of atmosphere and drama seemingly at odds with his use of hard lines and simple geometric shapes.

KEEP READING +

About Trevor Young

Trevor Young is a quintessentially American painter. He makes no bones about his affection for the trappings of car culture, life on the road, and 1960s West Coast art. His main subject is modernism’s footprint on the outposts of Americana—places typified by harsh artificial light and hard shadows on concrete. The show makes clear that for Young, despite the contemporary art world’s preferences for irony, disjunction, and tongue-in-cheek intellectual gamesmanship, painting is at its best when it attempts to offer an unpretentious accounting of where and how we live our day-to-day lives.

The celebrations of urban sprawl offered by artists like Ed Ruscha—who famously took no-nonsense aerial photographs of thirty four LA parking lots in 1967, and created sleek, stripped down paintings of Standard Oil stations—are an obvious point of reference in Young’s work. But Young’s choices seem more personal than Ruscha’s, and his technique is certainly more painterly: His images of gas stations are uneasy amalgamations, cobbled together from his own memories of road trips, photographs, and pure invention, and rendered with a sense of atmosphere and drama seemingly at odds with his use of hard lines and simple geometric shapes.

CLOSE
FILTER
APPLY
Type
-
Price
-
Availability
-
Availability
-
Country
Availability
Your Cart
CLOSEX
CONGRATULATIONS
You made it through the waitlist!
You have to accept your reservation below.
Accept
Remove Item
THIS ITEM IS SOLD OUT
Better luck next time!
This item has been removed from your cart.
CLOSE