DAVID BAILIN is an artist working primarily in drawing. He received his MA from Hunter College in New York and his BFA at the University of Colorado, Boulder. He has received fellowship awards from the National Endowment for the Arts, and the NEA / Mid-American Arts Alliance as well as the Arkansas Art Council. Bailin was given a solo exhibition in 2000 at the Arkansas Art Center in Little Rock and at the Visual Arts Center at the Washington Pavilion of Arts and Science in Sioux Falls, South Dakota in 2009. His work has been acquired by a number of public institutions including the Arkansas Art Center Foundation Collection in Little Rock, and the National Jewish Museum in Washington D.C. Bailin has received critical reviews in ARTnews, the Los Angeles Times, the LA Weekly, the Oxford American Magazine, art Ltd and other periodicals, and was the subject of a 2008 documentary entitled “Charcoal Lines.” The 2017 International Drawing Annual 11 exhibition-in-print includes two drawings from Bailin’s Erasing series. He was selected by the Arkansas Times weekly as one of Arkansas’ Visionaries in 2014. In 2014 he participated in the 56th Annual Delta Exhibition at the Arkansas Art Center and received the prestigious Grand Award. Bailin is represented by Koplin del Rio Gallery, Seattle, WA and Boswell Mourot Fine Art, Little Rock, AR. David Bailin currently lives and works in Little Rock, Arkansas.
Reviews & Criticism
Click on links to see individual reviews The written material presented on this site is the intellectual property of the respective authors/publications
Leslie Newell Peacock • Life Lines • Arkansas Times • May 25, 2017
Ellis Widner • Into the void• Arkansas Democrat Gazette • May 7, 2017
Lectures, Presentations and Exhibition Walkthroughs
He Left A Paper Trail: Core Matter, Subject Matter and Object Matter
Studio Practice: Developing Ideas
Drawing: Looking At Masters
SUUM CUIQUE VENENUM • To Each His Own Poison
Filmed, edited and produced by Anna Lancaster • Butler Center for Arkansas Studies • Central Arkansas Library System, September 2, 2015. Additional film clips by Doubletroublets Productions • Post-production by David Bailin and Warren Criswell, March 2016.
This softcover catalog is available for $30 through Blurb Books or you may order a signed copy of this catalog through the Studio Galleryfor $40.
Preview the Washington's Profile Catalog
Washington's Profile Drawings by David Bailin with essay by Leah Ollman
Back to Washington's Profile Catalog Overview
David Bailin Recent works: Prophets, Parables, Paradoxes Preface by Townsend Wolfe with essays by Ruth Pasquine and Warren Criswell
The 2000 exhibition of the Midrash Drawings and Prophet series contains a preface by Townsend Wolfe, Director and Chief Curator of the Arkansas Arts Center, and essays by Ruth Pasquine, Collections Curator, and Warren Criswell, artist.
Robert Ashley • 1930-2014 Back in 1984 I completed my master's thesis Robert Ashley's Atalanta (Acts of God): The Architecture of Perception. I spent many hours interviewing Robert Ashley and was saddened by his death this March 2014. I have decided to post several articles I wrote on his opera for television as a memorial to his work and his music. Click on the images to view the writings.
David Bailin • San Francisco Symphony Notes • November 1983
David Bailin • Formations • volume 2, number 1 • Spring 1985
David Bailin • Master's Thesis • Spring 1984
Ashley image from http://www.telegraph.co.uk/culture/music/classicalmusic/10716244/Robert-Ashley-That-rare-thing-a-great-American-opera-composer.html Album cover detail from http://www.lovely.com
I don't finish drawings, I exhaust the possibilities in each rendering. I revise and rework and more than likely destroy drawings. The last couple of years, only three drawings survived. I draw until the figure and the environment have weight—plasticity and narrative. I draw until I find a hook that sustains my viewing for more than a couple of days. If that hook doesn't last, then I go back to revising. Whatever began the drawing- the studies, the images from my boxes - is started again when I pick up my piece of charcoal. Because the mark is not the idea. I have to battle what making that mark means. Does it define the outside or the inside of the object? Is it defining a texture, a contour, or a tone?
Since all of us have mark making down, we think it's automatic. At its fundamental level, a drawing is a progressively complex listing of strokes. Nothing more. To assume that you can express anything before controlling and manipulating the material is ridiculous.
That's not to say that you don't have a start. I have plenty of starts, plenty of ideas, but once you are on the paper it's a whole different game.