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Llyn Foulkes

American, b. 1934

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Llyn Foulkes

American, b. 1934

373
Followers
Biography

One of the original stable of artists at the Ferus Gallery in 1960s Los Angeles, painter and musician Llyn Foulkes’s considerable influence is often thought to be under-recognized. He is best known for his “bloody head” series, macabre paintings that depict mutilated figures, whose identifying facial features are obscured by blood, collages, and geometric shapes. Foulkes’s work, which encompasses landscapes, mixed-media assemblages, tableaux, and portraits, frequently delivers biting social commentary, targeting corporate America and the military-industrial complex. In The Corporate Kiss (2001), Mickey Mouse stands on a man’s shoulder and kisses him on the cheek; the harried-looking man, a self-portrait of the artist, appears to emit a sigh. Reinterpretating the biblical kiss of Judas, Foulkes presents a metaphor for the betrayal of art by popular culture. Influenced by music, as well as Pop and Expressionism, Foulkes created his own one-man instrument, known as the Machine, consisting of horns, cowbells, bass, organs, pipes, and other elements. His relief paintings and assemblage works have been compared to those of his contemporary Ed Kienholz.

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Career Highlights
Learn more about artist insights.
Blue chip status
Blue chip representation
Represented by internationally reputable galleries.
User
Solo show at a major institution
New Museum, and 2 more
Group
Group show at a major institution
The Museum of Modern Art (MoMA), and 4 more
Institution
Collected by a major institution
Museum of Modern Art (MoMA)
Publication
Reviewed by a major art publication
Artforum, and 3 more
Fair
Included in a major biennial
Venice Biennale International Exhibition, and 2 more
Biography

One of the original stable of artists at the Ferus Gallery in 1960s Los Angeles, painter and musician Llyn Foulkes’s considerable influence is often thought to be under-recognized. He is best known for his “bloody head” series, macabre paintings that depict mutilated figures, whose identifying facial features are obscured by blood, collages, and geometric shapes. Foulkes’s work, which encompasses landscapes, mixed-media assemblages, tableaux, and portraits, frequently delivers biting social commentary, targeting corporate America and the military-industrial complex. In The Corporate Kiss (2001), Mickey Mouse stands on a man’s shoulder and kisses him on the cheek; the harried-looking man, a self-portrait of the artist, appears to emit a sigh. Reinterpretating the biblical kiss of Judas, Foulkes presents a metaphor for the betrayal of art by popular culture. Influenced by music, as well as Pop and Expressionism, Foulkes created his own one-man instrument, known as the Machine, consisting of horns, cowbells, bass, organs, pipes, and other elements. His relief paintings and assemblage works have been compared to those of his contemporary Ed Kienholz.

Career Highlights
Learn more about artist insights.
Blue chip status
Blue chip representation
Represented by internationally reputable galleries.
User
Solo show at a major institution
New Museum, and 2 more
Group
Group show at a major institution
The Museum of Modern Art (MoMA), and 4 more
Institution
Collected by a major institution
Museum of Modern Art (MoMA)
Publication
Reviewed by a major art publication
Artforum, and 3 more
Fair
Included in a major biennial
Venice Biennale International Exhibition, and 2 more
Articles Featuring Llyn Foulkes
Who is Llyn Foulkes and Why Does He Matter?
Aug 19th, 2013
Who is Llyn Foulkes and Why Does He Matter?
Llyn Foulkes Cites Spike Jones, Salvador Dali, and Charlie Chaplin as his Three Fathers
Jun 24th, 2013
Llyn Foulkes Cites Spike Jones, Salvador Dali, and Charlie Chaplin as his Three Fathers
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