Paul Kremer (b. 1971, Chicago, IL) is an American artist known for his unique minimalist abstractions, which utilize traditional methods of painting with acrylics and gouache on canvas to create heavily formal compositions softened by the texture of their permeable support. Kremer’s work oscillates between digitally printed meditations on the internet and massive color field abstractions.
Kremer is also known for having invented the now cult-followed social media account “Great Art in Ugly Rooms,” an internet phenomenon that presents shockingly realistic photo renderings of masterworks in laundromats, public restrooms, discount stores, and the like. For a span of twenty years, Kremer owned a graphic design studio and worked with renowned clients including Lou Reed, Tom Waits, PBS, and National Geographic. During this time, Kremer also co-founded the art collective “I Love You Baby,” a group of artists that held all-night painting parties from the 90s to the mid-aughts. A self-taught artist, Kremer’s works have garnered global recognition, being held in numerous collections and showcased in both solo and group exhibitions worldwide. He has been included in publications such as The New York Times, Interview Magazine, and Whitelies Magazine. His work is included in the collection of Birmingham Museum of Art, AL. Kremer lives and works in Houston, Texas.
Paul Kremer in the studio, Houston, TX.
PAUL KREMER / SETS
September 6-October 11, 2023
SHAPES
April 21-May 27, 2021
BENEFIT TO SUPPORT THE BLACK LIVES MATTER MOVEMENT
June 19, 2020
PAUL KREMER: LAYER HOOKS
February 7- March 11, 2020
Paul Kremer (b. 1971, Chicago, IL) is an American artist known for his unique minimalist abstractions, which utilize traditional methods of painting with acrylics on canvas to create heavily formal compositions softened by the texture of their permeable support. Kremer’s work oscillates between digitally printed meditations on the internet and massive color field abstractions. Kremer is also known for having invented the now cult-followed social media account “Great Art in Ugly Rooms,” and internet phenomenon that presents shockingly realistic photo renderings of masterworks in laundromats, public restrooms, discount stores, and the like.
This week, a new group exhibition opens at Alexander Berggruen in New York. Called Shapes, the show explores geometric abstraction by artists both new and old (or dead): Marina Adams and Ellsworth Kelly; Ethan Cook and Imi Knoebel; Sam Moyer and Sol LeWitt. From top: Anna Kunz, Ethan Cook, and Paul Kremer.
The Canvas speaks with Dominique Lévy, Casey Kaplan, Alex Logsdail, and Alexander Berggruen; four dealers representing four very different galleries that range considerably in both size and scope, to get their thoughts on an instantly altered art business, and what that means for the gallery ecosystem going forward. Alexander Berggruen, whose Upper East Side gallery space opened in October, has placed works by artists ranging from Ed Ruscha to Paul Kremer with collectors who acquired the pieces solely based on their digital images. The gallery has an online private view of its current exhibition, Quarters: Anne Buckwalter, Dustin Hodges, JJ Manford, Brittney Leeanne Williams through its Artlogic platform that it has shared with its clients; and a 3D virtual-reality tour of the exhibition has been made publicly available via Matterport’s technology on the gallery’s website.
On the occasion of our exhibition Shapes (April 21-May 27, 2021), we spoke with artists Rana Begum, Ethan Cook, Marie Hazard, Sheree Hovsepian, Paul Kremer, Anna Kunz, and Joel Shapiro about their work.
Q: In Imi Knoebel’s 2017 Element 10.2, the two painted blocks of aluminum meet at a point on the bottom corner of the work, but on the upper-left, the line ends unexpectedly about a centimeter to the right of the corner. Similarly, on the lower-left of your painting Opening 06, the edges of the white and vermillion shapes resist meeting each other at a logical point. Could you share some insight into this decision?
A: This is another way to animate the painting. Logically, the points would meet as the light casts across the wall, but if they don’t meet, it implies that the light hit one surface first, which to me sets the painting in motion instead of it being a snapshot of a moment.
