Consciously employing commonly used artistic techniques, such as trompe l'oeil, action painting, graphic design, screen printing, and rudimentary drawing, Josh Reames’ paintings break down hierarchies of mark-making, art historical references, computer graphics, labels, and everyday objects in a manner drawn from the non-objective “infinite scroll” of images and information we encounter in both the online and real world. All incidents exist on one plane and Reames’ work has a borderless quality, its surface seemingly holding the potential to extend infinitely.
Reames’ conceptual framework functions as a kind of filtration device for cultural byproduct. His object-filled canvases reference a vocabulary of transient signs, and symbols, untethered in space and anchored by visual and textual puns. The paintings are frequently structured in a way that reflects what is seen on the computer screen: content that is floating, often indexical, shifting, disappearing, and non-hierarchical. This common visual framework for almost all image, news, and information consumption is being referenced in the analog process of painting.
Josh Reames aligns his understanding of painterly tradition with his interpretation of a contemporary experience that speaks directly to the viewer and that seems fitting in the moment of creation. As Reames carves out his own space in the painting world and creates his own grammar, he wittingly nods his head to history as well.
Josh Reames was born 1985, Dallas, Texas, and received his MFA from the Art Institute of Chicago and BFA from University of North Texas. Reames was artist-in-residence at Ox Bow (funded by Joan Mitchell Foundation), The Barn, East Hampton, NY and The Fountainhead, Miami, FL. Reames has exhibited in a number of galleries and institutions, including Elmhurst Museum of Art, Andrea Rosen Gallery, The Hole, Team Gallery, Josh Lilley Gallery, 356 Mission, Johannes Vogt Gallery, Monya Rowe, Galeria Annaruma, Andrew Rafacz, Bill Brady Gallery, Kwanhoon Gallery (Seoul), Koenig Gallerie (Berlin), Dittrich & Schlechtriem (Berlin), and Anonymous Gallery (Mexico City).
Josh Reames
Thin Ice, 2019
Acrylic, celluclay, sawdust on canvas
78 x 66 in.
Josh Reames
Issues, 2020
Acrylic, celluclay, sawdust on canvas
78 x 66 in.
Josh Reames
Obscure Obfuscation, 2019
Acrylic on canas
78 x 66 in.
Josh Reames
Easy Street, 2020
Acrylic, celluclay, sawdust on canvas
68 x 50 in.
Josh Reames
Skid Marks, 2017
Acrylic on canvas
48 x 42 in.
Josh Reames
Lady Liberty, 2017
Acrylic on canvas
84 x 72 in.
Josh Reames
Other People's Vices, 2017
Acrylic on canvas
72 x 60 in.
Josh Reames
Bystanders, 2017
Acrylic on canvas
60 x 50 in.
Josh Reames
Fishin, 2015
Acrylic on canvas
72 x 60 in.
Josh Reames
Tru Gold, 2015
Acrylic on canvas
60 x 50 in.
Josh Reames
End Game, 2015
Acrylic on canvas
60 x 50 in. each
Josh Reames
Top Sign, 2015
Acrylic on canvas
60 x 48 in.
Josh Reames
Sleep Late, 2015
Acrylic on canvas
48 x 42 in.
Josh Reames
Coke Loan Shark, 2014
Acrylic on canvas
72 x 60 in.
Josh Reames
L A, 2014
Acrylic on canvas
72 x 60 in.
Josh Reames
Free Your Mind, 2014
Acrylic on canvas
48 x 42 in.
Many of the artworks — including pieces by Zackary Drucker (self portait, above center), Josh Reames and Laura Krifka — were found at L.A.’s Luis De Jesus Gallery. “It’s really important to support working artists,” says Clayton.
THE SHOPHOUSE gallery in Hong Kong is pleased to present group exhibition “I & the ME” by Anders Lindseth, Iabadiou Piko, Josh Reames, Julian Watts, Kour Pour, Mahsa Tehrani, Osamu Kobayashi, Yves Scherer and Zhang Ji. Participating artists are invited to create two works, one representing “I”, the subjective side of the artists evaluating themselves. Another piece about “Me” – the objective side of themselves shaped by the market, exploring how artists rover around today’s art world.
Reames views the visual complexity of his paintings as a strength, rather than being willfully cryptic for its own sake. "There can be moments of discovery or ahas down the road,” Reames says. “All the artwork that I live with, I typically will discover new things in it down the line, and that’s a really important experience for me — the kind of experience I want other people to have with it.”
There is no single archetype of the art dealer. Many gallerists are known for their selflessness and devotion to the creative process, but there are certainly bad apples, infamous for running glorified racketeering schemes. It can present a tricky dilemma for a young artist seeking representation—eager to take her career to the next stage, but wary of locking herself into a relationship that might not pay off.
In each of the four paintings in Josh Reames’s exhibition BO-DE-GAS, uniformly distributed idiomatic images floated graphically on raw canvas surfaces. Punctuating each of the intimate gallery’s four walls, the paintings were supplemented with three black, wall-mounted handrails that sported a selection of attitude-declaring bumper stickers.