Andrew Bordwin gives us a glimpse into the Art Deco era of New York City, as seen at the Chanin Building in the heart of the metropolis. His artworks are testaments to Bordwin's great love for New York City and his fascination with its unique architecture. The artist exposes how urban history is captured within the city’s architecture, in large and small formats, with tales of success and failure, values and conflicts. His work reflects upon how Art Deco era urban design linked belief in progress with luxury. His depictions of metal and stone elements embody extravagant, somewhat futuristic aesthetics, and the visions from that historic period that became reality.
Art Deco became the defining style of New York in the 1920s and 30s. Public buildings, such as libraries and administrative offices, were decorated with luxurious, ornamental designs, and so were the new neighboring skyscrapers. One of the most iconic symbols of this stylistic movement is the Chrysler Building in Manhattan, which is one of New York's landmarks and a prominent part of the skyline. The term Art Deco was used at the 1925 World Exhibition in Paris, which made the style accessible to a large audience for the first time and spread its popularity worldwide.
Andrew Bordwin gained recognition in the late 90s as a member in the New York artist group Type A. They used a variety of media, including photography, video, drawing and sculpture, to address issues of masculinity, competition and cooperation in contemporary society. Today, Bordwin is sought after for his videography and photography. He has filmed videos with legendary stars from the New York music scene, such as Questlove, and his photography series about the Art Deco era in New York is exhibited and collected in several museums and galleries within the USA and beyond.
|1964 ||Born in Framingham, Massachusetts, USA |
|1987 ||BA/BFA Double Major in Classical Civilization and Photography, New York University, USA |
| ||Lives and works in New York, USA |
|2004 ||Push, Sara Meltzer Gallery, New York, NY |
|2003 ||Mark/Point/Stand, Sara Meltzer Gallery, New York, NY |
|2002 ||Insertions, Ten in One Gallery, New York, NY |
|2000 ||Incubator, Sarah Meltzer gallery, New York, NY |
|1998 ||Collective Memory 2, Rider Series (Aspects of Photography), Sara Meltzer's On View, New York, NY |
|1997 ||Collective Memory I, Sara Meltzer's On View, New York, NY |
|1995 ||Similar and Incongruent (Collective Memory 1), Annika Sundvik Gallery, New York, NY |
|1991 ||The Cloud Club: Attic of the Chrysler Building, Municipal Art Society, New York, NY |
|2005 ||Dating Data, Josee Bienvenu Gallery, New York, NY |
|2004 ||Screwball, Vox Populi, Philadelphia, PA |
|2003 ||The World's A Mess, It's In My Kiss, Debs & Co., New York, NY |
|2002 ||Dangerous Beauty, Kuratiert von Pearl Gluck, The Jewish Community Center, New York, NY |
|2001 ||Tent, Centrum Beeldende Kunst, Rotterdam, NL |
|2000 ||On the Horizon:Landscape at the Millenium, New Jersey Center for Visual Arts, Summit, NJ |
|1999 ||New Media Space, The Herbert F. Johnson Museum of Art, Cornell University, Ithaca, NY |
|1998 ||5th Annual International Contemporary Art Fair, Henry Urbach Architecture, Chateau Marmont, Los Angeles, CA |
|1997 ||Backyards, Robert Mann Gallery, New York, NY |
|1996 ||Out Takes, Julie Saul Gallery, New York, NY |