MAX ESTENGER AVAILABLE WORK SPRING 2014

Yellow, White, Red, Blue, White 2013 Oil-based spray paint on raw canvas 24 x 40” (5 panels)

Yellow and White 2013 Oil-based spray paint on canvas and stainless steel 45 x 36” (5 panels)

Blue, White and Fuschia 2013 Oil-based spray paint on stainless steel, and wood panel; raw canvas, poly-vinyl over wood 24 x 68.5” (7 panels)

Orange, White Black and Green 2014 Oil-based spray paint on raw canvas, artist’s panel, and tin-coated steel 24 x 12” (4 panels)

Red and White 2014 Oil-based spray paint on stainless steel and wood panel 12 x 24” (two panels)

Green 2014 Oil-based spray paint on raw canvas 12 x 24” (2 panels)

Fuschia and Yellow Diptych 2014 Oil-based spray paint on wood panels 8 x 8” and 12 x 12” (two panels)

Green, White, Black, Orange 2014 Oil-based spray paint on aluminum, wood panel, and canvas 66 x 24” (five panels)

THIRTY 2006 acrylic on canvas, 20 x 80”

TWENTY-EIGHT 2007 acrylic on canvas 14 x 48”

TWENTY-FOUR 2007 acrylic on canvas 40 x 130.5”

OSHA White, Blue, & Orange 1995 raw canvas, stainless steel, enamel on raw canvas 69 x 50” (6 panels)

Max Estenger Max Estenger is an artist who has been living and working in New York City since 1989. For many years, he was represented by the Steffany Martz Gallery in Chelsea and had three one-person shows there until the gallery closed in 2001. His work has been featured in Artforum, FlashArt, Tema Celeste, artnet, Review, and Timeout New York among others. He was most recently featured in the book, La Couleur Importee (Readymade Color).

Education University of California, San Diego, M.F.A. Art, 1988 California State University, Fullerton, B.A. Art , 1986

Solo Exhibitions

2014 1998 1997 1995

“New Paintings," John Molloy Gallery, New York City “Watching Forever,” Steffany Martz, New York City “Headquarters,” Steffany Martz, New York City “OSHA Safety Colors,” Steffany Martz, New York City

Group Exhibitions

2006 2001 2000 1999 1998 1997 1996 1995 1994

1993

1992 1991

“Minimalism,” I-5 Gallery, Los Angeles, Ca. (curated by Mat Gleason) “Anymore,” Real Art Ways, Hartford, CT (curated by David Borawski) “Latent,” Limelight Gallery, New York City (curated by Eduardo Casares) “Goodbye, Farewell, So Long,” Steffany Martz, New York City “Firenze Biennale,” Florence, Italy (curated by Frances Nauman) “Sofa Not Included,” gallery: untitled, Dallas, Texas “Chelsea,” Steffany Martz, New York City “The Future Last Forever,” Steffany Martz, New York City “Other Rooms,” Ronald Feldman Gallery, New York City “Pleasant Pebble,” The Work Space, New York City (curated by Mary Jones & Janice Krasnow) “Group Show,” American Fine Arts Co., New York City “Cuban Presences,” Vista Gallery, New York City “20th Anniversary Exhibition Part III,” Artist Space, New York City “We Destroy the Family,” The Greene Street Project 34.5 Greene Street, New York City “DI A TRIBE,” Tomoko Liguori Gallery, New York City “What To Say What Not To Say,” Achim Kubinski Gallery, New York City “Art-Quake! Art After Post-Modernism and Other Natural Disasters,” 450 Gallery, New York City “Behind Bars,” Thread Waxing Space, New York City (curated by Meg O’Rouke) (catalogue) “Pushing Painting,” Stark Gallery, New York City “After Reinhardt: The Ecstasy of Denial,” Tomoko Liguori Gallery, New York City (catalogue)

Selected Bibliography

2014

Weyland, Jocko, “Max Estenger Interviewed by Jocko Weyland,” Max Estenger New Paintings Exhibition Catalogue, (New York:John Molloy Gallery, 2014) 28 pp.

2008 2002

Finch, Charlie, “The Return of Max Estenger,” artnet, March 20, 2008 Brian-Picard, Claude & Antoine Perrot, La Couleur Importee (Readymade Color), (Paris: POSITIONS& MCA, 2002) p. 69-72. (photo)

2000 1998

Ferree, Joel, “Artist in Residence,” TIMEOUT NEW YORK, May 4-11, 2000, p. 18-19. (photo) Mitchell, Charles Dee, “Showing What’s Current, Two Galleries Can Electrify,” The Dallas Morning News, December 22, 1998, p. 34, 37.

1998 1997 1997 1997 1997

Morgan, Robert C., “Max Estenger: Watching Forever at Steffany Martz,” Review, Nov. 1, 1998 Fend, Peter, “Max Estenger at Steffany Martz,” artnet, May 21, 1997 Moody, Tom, “New York Reviews,” ARTFORUM, November 1997, p. 117. (photo) Drolet, Owen, “Flash Art Reviews,” FLASH ART, October 1997, p. 115-116. (photo) Crane, Darren, “Max Estenger: Emerging New York Art Star,” COAGULA, Summer 1997 #28, p. 38, 66.

1997 1995 1994 1993

Johnson, Richard, “Godless Art,” NEW YORK POST, April 28, 1997, p. 8. TIME OUT NEW YORK, “Critics Pick, OSHA Safety Colors,” Nov. 1-8, 1995, p. 26. (photo) Jacques, Alison, “DI A TRIBE,” FLASH ART, March-April 1994, p. 63. (photo) Morgan, Robert, C., “The New Endgame,” in After the Deluge: Essays on Art in the 90s, (New York: Red Bass Publications, 1993) pp. 62-67. (photo)

1993 1992 1992 1992 1992

Crane, Darren, “Art Quake,” COVER, April 1993, p. 17. (photo) Estenger, Max, “Innovation After Post-Modernism,” TEMA CELESTE, Summer 1992, p. 21. (photo) Myers, Terry R., “After Reinhardt,” (review) TEMA CELESTE, January-March 1992, pp. 115-116. Morgan, Robert, C., “The New Endgame,” TEMA CELESTE, January-March 1992, pp. 65-69. (photo) O’Rourke, Meg, “Behind Bars,” in Behind Bars, exhibition catalogue, (New York: Thread Waxing Space (1992) pp. 2-32. (photo)

1991 1991 1991

Faust, Gretchen, “New York in Review,” ARTS MAGAZINE, December 1991, pp. 84-85. FLASH ART, New York Galleries, November-December 1991, p. 153. (photo) Estenger, Max, “After Reinhardt,” in After Reinhardt: The Ecstasy of Denial, exhibition catalogue, (New York: Tomoko Liguori Gallery, 1991) pp. 3-8.

1991 1991

Estenger, Max, “John Baldessari,” written by Max Estenger, PCN, May-June 1991, pp. 69-70. Estenger, Max & O’Rourke, Meg, “Alan Charlton,” ARTS MAGAZINE, April 1991, p. 74