Thursday BAM Benefit Edition — Greg Lindquist

Embers of the Maritime and Decay of Industry, Industry of Decay by Brooklyn-based painter Greg Lindquist. Proceeds from Embers of the Maritime benefit BAM.

8" x 10" ($20): Embers of the Maritime | Decay of Industry, Industry of Decay
11" x 14" ($50): Embers of the Maritime | Decay of Industry, Industry of Decay
20" x 24" ($500): Embers of the Maritime | Decay of Industry, Industry of Decay
24" x 36" ($1000): Embers of the Maritime | Decay of Industry, Industry of Decay

These prints are created using archival inks on 100% cotton rag paper. Our editions are supervised by the artist and each one comes with a signed certificate of authenticity.

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BAM-tastic Thursday greetings, collectors! Just like I promised when introducing this week's editions from Sarah McKenzie and Paho Mann, I'm back for a bonus round. Today we've got two prints from the very talented painter Greg Lindquist, one of which is being released to benefit the venerable and super-fantastically progressive and vital cultural institution that is BAM.

It's not often that you get to describe the same thing as being both venerable and progressive, but BAM is exactly that. Founded in 1861, it's America's oldest continuously operating performing arts center, and it presents an incredible array of programming. They're serious about their ambitious mission to be the "preeminent progressive performing and cinema arts center of the twenty-first century." Don't take my word for it — browse the calendar and see for yourself. BAMart, their visual art program is also great, and a lot of people aren't even aware of it, which is bananas. I'm especially pleased to be able to spread the wealth and the word in this here newsletter.

One of the most enjoyable things about doing benefit editions is the opportunity to collaborate with people who are as passionate as we are about the arts. BAMart curator David Harper is one of my favorites so far, and I'm not just saying that because he's a huge fan of 20x200. He's recommended so many great artists to me, Greg Lindquist being one of them, and I've really enjoyed learning about his perspective on the art world. He's got a very cool job, curating exhibitions, organizing benefits and auctions and working with all kinds talented, and often legendary, artists — artists who <3 BAM and are happy to have an opportunity show it by donating works that are sold to benefit the organization.

David's been hard at work on Greg's upcoming exhibition, Brooklyn Industry, which opens at BAM on Wednesday, March 11th and I was really excited when he suggested that we do our first editions together in support of the show. Everyone at 20x200 HQ is gaga over the prints which are really beautiful. It's nearly always true that stuff is better in person than on screen, but it's especially so with these prints. There's just no way to do them justice in pixels. I really love their proportions too — they're a bit tough to work with, long and narrow as they are, but they underscore the cinematic qualities of the images. Our own Sara Distin, writing for Flavorwire, did an outstanding job of explicating the work's other fine qualities. I'll close out our week with a quote from there:

Lindquist's paintings of the Brooklyn waterfronts in Red Hook and Williamsburg are much like the western horizons I know and love. Muted and neutral, his paintings are records of remnants; rendered from photographs, they function much the same way photographs do, triggering memory and serving as blank placeholders for those of us who do not tie our own histories to these post-industrial spaces, but instead, landscapes elsewhere. Identities are bound to geography; we are changed too, as we alter the surfaces around us.

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