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  • 1964 to 2030 by John O'Connor

1964 to 2030 by John O'Connor

Gary Lichtenstein Editions



Edition Size: 50

Sheet Size: 23 x 29 inches


Condition: Pristine

Details — Click to read

This piece is inspired by predictions made in 1981 by 31 graduate students at the University of Houston who were studying future trends. Their research aimed to explore the societal impacts of achieving immortality through medical advancements. For this work, I focused on one specific prediction about personality traits. I merged the written language of this prediction with a pattern system of my own invention, correlating the visual structure with the linguistic framework. The work contains a numerical coding system, mirrored at the start and end. I’m interested in patterns of language that embody humanity’s desire to foresee the future — how does the feeling of the future manifest in words on a page?

– John OConnor



The Artist

John O'Connor

John J. O’Connor received an MFA in painting and an MS in Art History and Criticism from Pratt Institute in 2000. He attended The MacDowell Colony, the Skowhegan School of Painting and Sculpture, the Vermont Studio Center and the Celia & Wally Gilbert Artist-in-Residence Program. John was a recipient of 2 New York Foundation for the Arts Grants in Painting and Drawing, the Pollock-Krasner Foundation grant, the Marie Walsh Sharpe Foundation Studio Residency and a 2023 Guggenheim Fellowship in Fine Arts. He has been in numerous exhibitions abroad, including The Lab (Ireland), Martin Asbaek Gallery (Denmark), Neue Berliner Raume (Germany), Rodolphe Janssen Gallery (Brussels), the Louhu District Art Museum (Shenzhen, China), TW Fine Art (Australia); and in the US at Andrea Rosen Gallery, Pierogi Gallery, Arkansas Arts Center, Weatherspoon Museum, Ronald Feldman Gallery, Marlborough Gallery, White Columns, the Museum of Contemporary Art in Baltimore, the Wellin Museum, the Queens Museum, and the Tang Museum. John’s exhibitions have been reviewed in Bomb Magazine, The New York Times, Artforum, the Village Voice, Art Papers, the Brooklyn Rail and Art in America, among others. John presented his work in discussion with Fred Tomaselli at The New Museum, and his work is included in numerous collections including the Museum of Modern Art, Whitney Museum of American Art, Weatherspoon Museum, Hood Museum, Southern Methodist University, and the New Museum of Contemporary Art. A catalogue spanning 10 years of John’s work was published by Pierogi Gallery with essays by Robert Storr, John Yau, and Rick Moody. He teaches and co-chairs the Visual Arts program at Sarah Lawrence College. John is also a member of the experimental art and technology collective NonCoreProjector.

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