Bailin Studio

He left a paper trail…
David Bailin | Bailin Studio • CV
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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.” His work is included in the fourth edition of Drawing Essentials by Deborah Rockman, published in 2020 by the Oxford University Press. The 2020 Drawing Discourse 11th Annual exhibition 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 M2 Gallery, 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
Karen Martin • A Celebration of Art From Decades Past • Arkansas Democrat Gazette • August 18, 2019
Peter Frank • Towards a 21st-Century Abstraction essay • 21st Century Abstraction Brochure • August 2019
Katie Pfohl, Juror • SOUTH #136 • New American Paintings Exhibition-in-Print • June/July, 2018
Manifest Gallery • International Drawing Annual • 11th Annual Exhibition-in-Print • Spring, 2017
Leslie Newell Peacock • Life Lines • Arkansas Times • May 25, 2017
Ellis Widner • Into the void • Arkansas Democrat Gazette • May 7, 2017
Leslie Newell Peacock • Bailin. Criswell. Peters, • Arkansas Times • September 3, 2015
Kirk Montgomery • Art Among Friends • Arkansas Democrat Gazette • August 30, 2015
Arkansas Times • 15 Little Rock Artists To Know • Arkansas Times • January 2015
Arkansas Times Staff • Visionary Arkansans 2014 • Arkansas Times • September 2014
Ellis Widner • Southern Spotlight • Arkansas Democrat Gazette • July 2014
Christopher Michno • Los Angeles: David Bailin: “Dreams and Disasters’ at Koplin Del Rio • art ltd • May/June 2014 Review
Leah Ollman • Uncommon urgency flows from David Bailin’s drawings • Los Angeles Times • March 2014
Kellie Cobb, Features Editor • Disparate Acts • The Jonesboro Sun • March 2014
Tracee Robertson • Marking A Course Catalog Essay • UNT Galleries • February - March 2014
Kellie Cobb, Features Editor • Disparate Acts • The Jonesboro Sun • March 2014
Philip Martin • A hedge against the recession of sentience • Arkansas Democrat Gazette • May 2013
Michael Upchurch • Prographica's 'Bleak Beauty' • The Seattle Times | The Arts • February 2013
Peter Frank • Haiku Reviews • • October 2012
Leah Ollman • Review: Bailin explore[s] metaphor • • June 2012
Kathy Leonardo • Two Brilliant Exhibitions… • • June 2012
Warren Criswell • It's About Time • • March 2012
Leslie Newell Peacock • Following Paper Trails • Arkansas Times • March 2010
Lea Feinstein • On Paper • ArtNews • January 2010
Matthew Kangas • West Coast Drawings: Drawings VII • art ltd. • September 2009
Jay Kirschenmann • Art Beat • Argus Leader • December 2008
Leah Ollman • Washington's Profile Catalog Essay • 2008
Leah Ollman • Around the Galleries • LA Times • July 2007
James Morgan • Chasing Matisse • 2005
Little Rock Soiree • Art • March 2005
Peter Frank • Art Picks of the Week • LA Weekly • July 2004
Karen Martin • Arkansas Artist • Arkansas Democrat Gazette • June 2004
ArtNews • What's Up and Coming in LA • June 2004
Peter Frank • Art Picks of the Week • LA Weekly • July 2004
Harper's Magazine • [Resumes] • June 2004
Peter Frank • Art Picks of the Week • LA Weekly • December 2002 - January 2003
Leah Ollman • Drawn to the raw power of life • LA Times • December 2002
Warren Criswell • Criswell’s Sketchbook entries on Bailin’s Themes • 1997 - 2002
Ruth Pasquine • In Search of a Hero • 2000
Townsend Wolfe • Catalog Preface • 2000
Extended Interviews and Documentaries
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Creative Practices for Visual Artists - David Bailin, 2018
Inside The Studios Of Six Arkansas Artists - David Bailin, 2017
IDENTITY Insight: Unfolding the Visual Narrative- David Bailin, 2016
Art Tools interview with David Bailin, 2016
AETN Loupe with David Bailin, 2013
Filmed, edited and produced by Hop Litzwire© 2013 AETN
The 22 Magazine Interview with David Bailin, 2012
Charcoal Lines: A Conversation with David Bailin, 2008
Cindy Momchilov interviews David Bailin
at Camera Work, Little Rock, October 16, 2008

Edited and produced by Doubletroublets Productions
© 2008 DoubleTroublets Productions
Exhibition CATALOGS
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Stacks Image 3007
Stacks Image 3011
Stacks Image 2750
Studio Newsletter May 2107
Drawing Conclusions Newsletter Nov 2016
On My Drawing Process
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.