Roxy Paine height - How tall is Roxy Paine?

Audacious: Contemporary Artists Speak Out, March 2016 - February 2017, Denver Art Museum, Denver CO

Roxy Paine, Gund Gallery, Columbus, Ohio, January - June 2016

Impossible Blossom, September 5, 2016, The New School, New York, NY

False Narratives, June 24 - July 31, 2016, Pierogi, New York, NY Built,World, June 7— September 4, 2016, SCAD Museum of Art, Savannah, GA

2015 Articulated Confusion: The Drawings of Roxy Paine, Frederik Meijer Gardens and Sculpture Park, Grand Rapids, MI

Social Ecologies, Rail Curatorial Projects, December 5, 2015 - February 21, 2016, Industry City, Brooklyn NY.

Devotion, Catinca Tabacaru Gallery, Co-curated by Will Corwin, November 21, 2015 - January 17, 2016, NY, NY.

"On one level, it's a forest that has been downed by an unseen force—a force of nature or, perhaps, a force of man. I also want the sculpture to be the force itself, a swirling, churning force. The word 'maelstrom' actually has a Dutch root; it literally means 'grinding stream,' ... The third state is trees in the state of becoming abstractions. There are areas with recognizable tree parts and then others where representation is stretching, breaking apart, and coalescing again ... I want the fourth state of trance to be a pipeline in a factory that's run amuck. This is getting back to the root of the material, so to speak, which is purely industrial. Here the piece is embracing its source. And, finally, the fifth state is that of a mental storm, or what I envision happens during an epileptic seizure."

In June 2014, Symbiosis (2011) was installed in Philadelphia, PA in Iroquois Park, originally on temporary loan to the Association for Public Art courtesy of Paine and Marianne Boesky Gallery. In 2015, the Association for Public Art received a grant from the Daniel W. Dietrich II Trust, Inc. to acquire Symbiosis, enabling the dendroid to remain in Philadelphia.

In September 2013 Paine debuted the first two installations of a new series of work utilizing large-scale dioramas. The two installations were revealed in an exhibition at the Kavi Gupta gallery in Chicago. The new pieces, meticulously carved from wood, are life-size replicas of a fast-food restaurant and a control room, respectively.

Roxy Paine's Caracuss (First Solo show Apparatus), 2013, at Kavi Gupta Gallery Chicago

2013 Roxy Paine, Kavi Gupta, Chicago, September 20 - December 20, 2013

2013 "Out of Hand: Materializing the Postdigital", Museum of Art and Design, New York, NY

2012 Lifelike, Walker Art Center, Minneapolis, MN

Ferment was permanently installed in April 2011 on the south lawn of The Nelson-Atkins Museum of Art in Kansas City, MO. Taking more than three years to produce, this 56-ft tall stainless steel dendroid sculpture, as described by Paine, "was trying to capture a churning, swirling force."

2011 Roxy Paine: Scumaks and Dendroids, Nelson-Atkins Museum of Art, Kansas City, MO, April 29 - August 28, 2011

2011 Color in Flux, Weserburg Museum für moderne Kunst, Bremen, Germany Nod Nod Wink Wink: Conceptual Art in New Mexico and Its Influences, The Harwood Museum of Art, Taos, New Mexico

Distillation, 2010, was on view at James Cohan Gallery in New York from October 16 - December 11, 2010, and One Hundred Foot Line, 2010, was installed permanently at the National Gallery of Canada, in Ottawa, Ontario. Distillation, as described by Hilarie Sheets in The New York Times,

2010 Roxy Paine: Distillation, James Cohan Gallery, New York, October 16 - December 11, 2010

2010 The Secret Life of Trees, Monica de Cardenas Galleria, Zuoz, Switzerland Out of the Woods, Leslie Tonkonow, New York 17th Biennale of Sydney: The Beauty of Distance: Songs of Survival in a Precarious Age, Sydney, Australia

Maelstrom, 2009, was on view at the Metropolitan Museum of Art from April 28 - November 29, 2009 and Graft, 2009 was installed at the National Gallery of Art Sculpture Garden in Washington, DC, in the fall of 2009. When asked about Maelstrom Paine described it as existing on five "levels" at once:

2009 Roxy Paine: Dendroid Drawings and Maquettes, James Cohan Gallery, New York, May 1 - June 6, 2009

Roxy Paine on the Roof: Maelstrom, The Metropolitan Museum of Art Roof Garden, New York, NY, April 28 - November 29, 2009 Roxy Paine: SCUMAKS", James Cohan Gallery, New York, Opened June 26, 2008

2009 Reflection, Refraction, Reconfiguration: Mediated Images from the Collection of Polly and Mark Addison, University Art Museum, Colorado State University, Fort Collins, CO Remote Proximity: Nature in Contemporary Art, Kunstmuseum Bonn, Bonn, Germany The Rose at Brandeis: Works From the Collection, The Rose Art Museum, Brandeis University, Waltham, MA

Paine's recent sculpture, Inversion, 2008, was installed in the Public Art Projects section of Art Basel 39, in Basel, Switzerland in June 2008. It was also part of FREEDOM: Den Haag Sculptuur 2008 in The Hague, Netherlands through August 2008.

Roxy Paine's Inversion, 2008, at Billy Rose Art Garden, Israel Museum

Roxy Paine's Graft, 2008, at National Gallery of Art Sculpture Garden, Washington D.C.

2008 Bending Nature, Franklin Park Conservatory, Columbus, OH Bizarre Perfection, Israel Museum, Jerusalem, Israel Freedom: Den Haag Sculpture 2008, The Hague, The Netherlands Public Art Projects, Art Basel 39, Basel, Switzerland Paragons: New Abstraction from the Albright-Knox Gallery, Doris McCarthy Gallery, University of Toronto Scarborough, Toronto, Ontario

The first of these dendroids was Impostor, 1999, now at the Wanas Foundation, in Knislinge, Sweden. He has gone on to create 25 of these sculptures, including Bluff, 2002, which premiered in New York's Central Park during the Whitney Biennial in 2002, and the very ambitious Conjoined, 2007, recently on display in Manhattan's Madison Square Park (through December 31, 2007). Conjoined is a 40 ft tall by 45 ft wide sculpture of two trees whose branches cantilever in space and connect in mid air. Paine creates two different fictional tree species where each branch from one tree joins with a branch from the other. For the observer, it is unclear where one tree begins and the other ends. "Conjoined" was acquired in 2008 by and is on display at the Modern Art Museum of Fort Worth.

Roxy Paine's Conjoined, 2007, Madison Square Park, New York

2007 Roxy Paine, Madison Square Park, New York, NY, May 15 – December 31, 2007

2007 Delicatessen, Dorothy F. Schmidt Center Gallery, Florida Atlantic University, Boca Raton, Florida Art Machines/Machine Art, Schirn Kunsthalle, Frankfurt, Germany. Travelled to Museum Tinguely, Basel, Switzerland (through July 2008) Molecules that Matter, Tang Teaching Museum, Saratoga Springs, NY. Travelled to Chemical Heritage Foundation, Philadelphia, Pennsylvania; College of Wooster Art Museum, Wooster, Ohio (through May 2009) The Outdoor Gallery: 40 Years of Public Art in New York City Parks, The Arsenal Gallery in Central Park, New York Drawings from the Collection of Martina Yamin, Davis Museum and Cultural Center, Wellesley College, MA

2006 Roxy Paine: PMU, curated by Bruce Guenther, Portland Art Museum, Portland, OR, February 25 – May 28, 2006

2006 Recent Acquisitions, Musée d'art contemporain de Montréal, Montreal, Canada, October 28, 2006 - March 25, 2007 Meditations in an Emergency, Museum of Contemporary Art Detroit, MI, October 28, 2006 - April 29, 2007 A Brighter Day, James Cohan Gallery, New York, NY Garden Paradise, curated by Lacy Davisson Doyle and Clare Weiss, The Arsenal Gallery in Central Park, New York, NY American Academy Invitational Exhibition of Painting and Sculpture, The American Academy of Arts and Letters, New York, March 7 - April 9 Uneasy Nature, curated by Xandra Eden, Weatherspoon Art Museum, The University of North Carolina, Greensboro, NC, February 18 - May 28

Most recently, Paine introduced his Erosion Machine, 2005, which consists of a robotic arm that traces and cuts patterns into large blocks of stone. The course of the arm's movement is determined by data sets, such as weather conditions and school test results. The work suggests the corrosive effects of human imposition on the environment while at the same time represents the transformation of the banal into the beautiful.

2005 Ecstasy: In and About Altered States, organized by Paul Schimmel with Gloria Sutton, Museum of Contemporary Art, Los Angeles, CA The Empire of Sighs, Numark Gallery, Washington D.C. Extreme Abstraction, Albright Knox Art Gallery, Buffalo, NY Sculpture, James Cohan Gallery, New York Flower Myth. Vincent van Gogh to Jeff Koons, Fondation Beyeler, Riehen/Basel, Switzerland Material Terrain: A Sculptural Exploration of Landscape and Place, curated by Carla Hanzal, commissioned by Laumeier Sculpture Park, St. Louis, MO. Traveling to Santa Cruz Museum of Art and History, Santa Cruz, CA; University of Arizona Museum of Art, Tucson, AZ; Memphis Brooks Museum of Art, Memphis, TN; Cheekwood Museum of Art, Nashville, TN; Lowe Art Museum, University of Miami, Coral Gables, FL (February 2005 through December 2007)

2004 PILLish: Harsh Realities and Gorgeous Disasters, curated by Cydney Payton, Museum of Contemporary Art Denver, Denver, CO, through January 2, 2005 Paintings That Paint Themselves, or so it seems, Kresge Art Museum, Michigan State University, East Lansing, MI Summer Show, James Cohan Gallery, New York Between the Lines, James Cohan Gallery, New York The Flower as Image, Louisiana Museum for Moderne Kunst, Humlebaek, Denmark Natural Histories: Realism Revisited, Scottsdale Museum of Contemporary Art, Scottsdale, AZ, May 29 - September 12

2004 Roxy Paine: New Work, James Cohan Gallery, New York, January 14 – February 25, 2004

2003 Work Ethic, Baltimore Museum of Art, Baltimore, Maryland, October 12, 2003 - January 11, 2004. Traveled to the Des Moines Center for the Arts May 15 - August 1, 2004 UnNaturally, organized by Independent Curators International (ICI), curated by Mary-Kay Lombino. Traveled to Contemporary Art Museum, University of South Florida, Tampa, FL; H & R Block Artspace at the Kansas City Art Institute, Kansas City, MO; Fisher Gallery, University of Southern California, Los Angeles, CA; Copia: The American Center for Wine, Food and the Arts, Napa, CA; Lowe Art Museum, University of Miami, Coral Gables, FL (January 2003 through November 2004) The Great Drawing Show 1550-2003 A.D, Michael Kohn Gallery, Los Angeles, April 12 - May 31 Decade, Schroeder Romero, Brooklyn, April 11 - May 19

2002 'Roxy Paine, James Cohan Gallery, New York, November 8 - December 22, 2002

Roxy Paine: Second Nature, co-curated by Joseph Ketner and Lynn Herbert, Rose Art Museum, Brandeis University, Waltham, MA. Traveled to Contemporary Arts Museum Houston, TX; SITE Santa Fe, New Mexico; De Pont Museum of Contemporary Art, Tilburg, Netherlands (April 2002 through January 2004)

2002 The Whitney Biennial in Central Park, curated by Tom Eccles, organized by the Public Art Fund, New York in collaboration with The Whitney Museum of American Art, New York Early Acclaim: Emerging Artist Award Recipients 1997-2001, The Aldrich Museum of Contemporary Art, Ridgefield, CT, September 22 - December 31

2001 Roxy Paine, Museum of Contemporary Art, North Miami, FL, November 11, 2001 - January 27, 2002

Roxy Paine, Grand Arts, Kansas City, MO, June 29 - August 11, 2001

"Roxy Paine", Christopher Grimes Gallery, Los Angeles, May 26 - June 30, 2001

"Roxy Paine", James Cohan Gallery, New York, April 5 - May 5, 2001

Roxy Paine, Galerie Thomas Schulte, Berlin, Germany, February 13 - April 20, 2001

2001 Painting Matter, James Cohan Gallery, New York, May 3 - June 15, 2002 2001 Brooklyn!, Palm Beach Institute of Contemporary Art, Palm Beach, FL, September 4 - November 25 Arte y Naturaleza, Outdoor Sculpture Garden, Montenmedio Arte Contemporaneo, Cadiz, Spain, June 2 - October 2 Present Tense 6, Israel Museum, Jerusalem, Israel, May - December A Contemporary Cabinet of Curiosities - Selections from the Vicki and Kent Logan Collection, California College of Arts and Crafts, San Francisco, January 17 - March 3 Give and Take, Serpentine Gallery in collaboration with the Victoria and Albert Museum, London, January 30 - April 1 Making the Making, Apex Art, New York, January 5 - February 3 Waterworks: U.S. Akvarell 2001, curated by Kim Levin, Nordiska Akvarellmuseet, Skarhamn, Sweden 01.01.01: Art in Technological Times, San Francisco Museum of Modern Art, San Francisco, CA All-Terrain, Contemporary Art Center of Virginia, Virginia Beach, VA

2000 From a Distance: Approaching Landscape, curated by Jessica Morgan, Institute of Contemporary Art, Boston, MA WILDflowers, Katonah Museum of Art, Katonah, NY, July 28 - October 3 Working in Brooklyn: Beyond Technology, Brooklyn Museum of Art, Brooklyn, NY, July 1 - September 12 5th Lyon Biennale of Contemporary Art: Sharing Exoticism, Lyon Biennale, Lyon, France, June 27 - September 24 Vision Ruhr, Dortmund Coal Factory, Dortmund, Germany, May 11 - August 20 The Greenhouse Effect, Serpentine Gallery, London, April 4 - May 21 Sites Around the City: Art and Environment, curated by Heather Sealy Lineberry, Arizona State University Art Museum, Tempe, AZ, March 4 - June 4 Greater New York: New Art in New York Now, PS1 Contemporary Art Center in collaboration with the Museum of Modern Art, New York, February 27 - April 16 Visionary Landscape, Christopher Grimes Gallery, Santa Monica, CA, January 8 - February 19. Travelled to The End, Exit Art/The First World, New York, January 29 - April 8 As Far As the Eye Can See, Atlanta College of Art Gallery, Atlanta, GA, January 29 - March 7

PMU (Painting Manufacturing Unit), from 1999–2000, involves a metal painting arm that is programmed to expel white paint onto a canvas according to specific instructions programmed into the machine. The resulting works often can evoke landscapes or possibly layers of geological sediment.

1999 "Roxy Paine", Roger Björkholmen Gallery, Stockholm, Sweden, February 26 - March 31, 1999

Roxy Paine, Ronald Feldman Fine Arts, New York, NY, January 9 - February 13, 1999

1999 Best of the Season: Selected Work from the 1998-99 Gallery Season, The Aldrich Contemporary Art Museum, Ridgefield, CT, September 26 - January 9, 1999

From this point onward, Paine's work separated into a few distinct but nevertheless related categories. The first involves naturalistic works: minutely precise reproductions of natural objects like mushrooms, leafy plants or poppies. A second category consists of machine-based works: he has devised a number of conceptually-challenging art-making machines, like the SCUMAK (Auto Sculpture Maker), 1998, PMU (Painting Manufacturing Unit), 1999–2000, and the Erosion Machine, 2005. Bridging the gap between the naturalistic and mechanized works, Paine also creates large-scale stainless steel trees and boulders of varying sizes (ranging from 8 – 50 feet in height).

1998 Roxy Paine, Musee D'Art Americain Giverny, Giverny, France, June 1 - November 15, 1998. Traveled to Lunds Kunsthall, Lund, Sweden, March 6 - April 18, 1999

Roxy Paine, Renate Schroder Galerie, Koln, Germany, April 24 - June 6, 1998

1998 Interlacings: The Craft of Contemporary Art, Whitney Museum of American Art at Champion, Stamford, CT, September 10 - November 21 22/21, Emily Lowe Gallery/Hofstra Museum, Hempstead, NY, September 8 - October 25 Elise Goodheart Fine Art, Sag Harbor, NY, July 24 - August 16 DNA Gallery, Provincetown, MA, July 17 - August 5 Nine International Artists at Wanas, 1998, Wanas Foundation, Knislinge, Sweden, May 24 - August 18 Landscapes, Meyerson & Nowinski, Seattle, WA, January 8 - March 1

Paine's vitrines and botanical works often feature replicas of plants that have been discovered as extremely poisonous or have been used by humans for experimental hallucinogenic or drug experiences. The living plants are cast and subsequently rendered in thermoset polymers, paint, lacquer, and epoxy, among other materials. Crop, 1997–98, shows a field of poppies, with ripened pods exposing the evidence of raw opium being readied for harvest. The piece embodies the shifting views of the beauty of a field of wild flowers and the grave potential of drug addiction. Amanita Muscaria Field, 2000, shows a field of psychoactive mushrooms that appear as if they are sprouting from the gallery floor. This field might present multiple readings: are these works a hallucinogenic vision on their own or do they represent the plant life that offers the possibility of arriving at that vision? Another related series of works is that of the Dead Amanita vitrines, lifelike mushrooms seem to be decaying under glass. The genus Amanita is a group of poisonous and psychoactive mushrooms that has some species that are among the deadliest if ingested by humans.

Removing the artist's hand in the creative process and replacing it with a computer program is the crux of Paine's machine-based works. His first art-making machine, Paint Dipper, 1997, employed a steel armature that continuously dipped canvases into a vat of paint over the course of time, creating works that collect latex paint stalactites along the bottom edge. SCUMAK (Auto Sculpture Maker), 1998–2001, melts plastic with pigments and periodically extrudes them onto a conveyor belt, creating bulbous shaped sculptures that are each unique.

1997 "Roxy Paine", Ronald Feldman Fine Arts, New York, March 15 - April 26, 1997 "Roxy Paine", Temple Gallery, Tyler School of Art, Temple University, Philadelphia, September 5 - October 11, 1997

1997 Redefinitions, A View From Brooklyn, California State University, Fullerton, CA, November 9 - December 11 Sculpture, James Graham & Sons, New York, July 10 - August 29 Summer of Love, Fotouhi Cramer Gallery, New York, July 2 - August 2 Artists Respond to 2001: Space Odyssey, Williamsburg Arts and Historical Society, Brooklyn, June 21 - July 26 Benefit for Pat Hearn, Morris-Healey Gallery, New York, February 26 - March 9 9 to 5 at Metrotech: New Commissions for the Common, The Public Art Fund, Brooklyn, NY, October 30, 1997 - May 31, 1998 Best of the Season 1996-97, The Aldrich Museum of Contemporary Art, Ridgefield, CT, September 14 - January 4, 1997 Current Undercurrent: Working in Brooklyn, Brooklyn Museum of Art, Brooklyn, July 25, 1997 - January 25, 1998

1996 Imaginary Beings, Exit Art/The First World, New York, December 2 - January 27, 1996 Art on Paper, Weatherspoon Art Gallery, The University of North Carolina, Greensboro, NC, November 12 - January 21, 1996 Human/Nature, The New Museum of Contemporary Art, New York, NY, April 20 - May 18 Better Living Through Chemistry, Randolph Street Gallery, Chicago, March - April, 1996 Momenta Art, Inside Out, Brooklyn, September 15 - October 7, 1996 Currents in Contemporary Art, Christie's East, New York, July 22–31, 1996 Inside: The Work of Art, California Center for the Arts, Escondido, CA, June 16 - October 13, 1996 Wish You Were Here, Bronwyn Keenan Gallery, New York, March 1–30, 1996 New York State Biennial, New York State Museum, Albany, NY, February 8 - May 26, 1996 NY Withdrawing, Ronald Feldman Fine Arts, New York, January 13 - February 17, 1996 Multiples, Pierogi 2000, Brooklyn, NY, December 2, 1995 - January 15, 1996

His next solo exhibition was at Ronald Feldman Gallery in 1995, and it included other kinetic works, but the central and most critically acclaimed work was a piece called Dinner of the Dictators, 1993–95, a vitrine enclosing the taxidermied favorite meals of infamous dictators, ranging from Genghis Khan and Adolf Hitler to Napoleon Bonaparte and Suharto. The research alone took eight months, and overall, the work took two years to produce, opening Paine to new approaches and processes in his work.

1995 Roxy Paine, Ronald Feldman Fine Arts, New York, NY, April 29 - June 3, 1995

1995 Lookin' Good-Feelin', 450 Broadway Gallery, New York, December 5–9, 1995

1994 Red Windows: Benefit for Little Red School House, Barneys Windows, November - December, 1994 Spring Benefit, Sculpture Center, New York, April 19, 1994 Garden of Sculptural Delights, Exit Art/The First World, New York, NY, March 2 - April 23, 1994 Free Falling, Berlin Shafir Gallery, New York, January 22 - February 19, 1994

1993 UNTITLED (14), Ronald Feldman Fine Arts, New York, November 13 - December 23, 1993 INFLUX, Gallery 400, Chicago, November 3 - December 4, 1993 4 Walls Benefit, David Zwirner Gallery, New York, November 1993 Fantastic Wandering, Cummings Art Center, New London, CT, October 9 - November 10, 1993 Extracts, Islip Art Museum, Islip, NY, August 8 - September 19, 1993 Real Art Ways, Popular Mechanics, Hartford, CT, June 19 - July 16, 1993 Outside Possibilities '93, The Rushmore Festival at Woodbury, New York, June 5 - July 4, 1993 The Nature of the Machine, Chicago Cultural Center, Chicago, April 3 - May 30, 1993 Out of Town: The Williamsburg Paradigm, Krannert Art Museum, University of Illinois, Champaign, IL, January 22- February 28, 1993

1992 Roxy Paine, Herron Test-Site, Brooklyn, NY, October 9 - November 8, 1992

1992 Fever, Exit Art, New York, December 14, 1992 - February 6, 1993

1991 Horns, The Knitting Factory, New York, December 3–31, 1991

1991 Group, Jimenez-Algus Gallery, Brooklyn, September 13 - October 13, 1991 Generator 547, Entropy, New York, August 2 - September 5, 1991 Tweeking the Human, Brand Name Damages and Minor Injury Galleries, Brooklyn, June 7–31, 1991 The Ego Show, Minor Injury Gallery, Brooklyn, April 5 - May 2, 1991

Since 1990, Paine's works have been exhibited in major collections and galleries across the United States, Germany, Sweden, England, the Netherlands, and Israel. His most reviewed exhibitions include Replicants, Machines, Dendroids, and Dioramas. Paine is represented by Paul Kasmin Gallery in New York The Kavi Gupta Gallery of Chicago & Berlin, and by the Marianne Boesky Gallery in New York. Roxy Paine currently lives and works in Brooklyn and Treadwell, New York.

Paine began showing his work in Williamsburg, Brooklyn in 1990 and 1991 at an artist run collective called Brand Name Damages (which he helped to found) and he had his first solo exhibition at the short-lived Herron Test-Site in October 1992. His early work consisted of kinetic and time-based sculptures such as Viscous Pult, 1990, which consisted of a paint brush smearing ketchup, white paint and motor oil on the gallery space's front window; and Displaced Sink, 1992, which had a leaking pipe in the ceiling dripping water on a tall stack of soap bars, leaving a pool of semi-liquid soap to collect on the gallery floor.

1990 Desire and Deception, Brand Name Damages, Brooklyn, October 9–21, 1990 Group Show, Ridge Street Gallery, New York, September 3–26, 1990 Roxy Paine and David Fasoldt, Brand Name Damages, Brooklyn, NY, March 29 - April 6, 1990

He then moved to New York and attended Pratt Institute for a time, originally as a painting major but later switching to sculpture. In addition to paintings, Paine produced unusual, functional ceramic and metal musical instruments. He eventually dropped out of Pratt, and with help from some of his colleagues, formed the artist collective Brand Name Damages in 1989.

Roxy Paine (born 1966, New York City) is an American painter and sculptor widely known for his installations that often convey elements of conflict between the natural word and the artificial plains man creates. He was educated at both the College of Santa Fe (now Santa Fe University of Art and Design) in New Mexico and the Pratt Institute in New York.