John Alexander: A Retrospective

On Tuesday I went to the press preview for the John Alexander retrospective that is opening at the Smithsonian American Art Museum tomorrow, and since then, I’ve brought up the exhibit to almost every single person I’ve talked to. I had never encountered Alexander’s work in person before, and it’s really incredible.

I’ve described him as part Audubon, part Goya, part Blake, and part voodoo, but this doesn’t do him justice — every work is multi-layered and dense. Images lurk in the background, and Alexander is clear about his influences — for example, the painting below, "Ship of Fools," is a take on a Hieronymus Bosch painting from the fifteenth century.

Alexander brings a southern mindset to his paintings — he grew up in Texas, and the KKK and the Selma riots affected his consciousness, and are abstracted in his work. Birds and masked figures are present in many paintings and lend an ominous note to even the brightest pieces, like “Melon Fields,” one of my favorites.



John Alexander, Ship of Fools (Courtesy John Alexander)


Alexander’s Long Island landscapes contrast nicely with the Asher B. Durand exhibit also running at the SAAM. Durand, part of the Hudson River School, painted sweeping vistas and detailed nature scenes in the 19th century. "Kindred Spirits: Asher B. Durand and the American Landscape" runs through January 6.

Alexander’s pictures are absolutely meant to be seen in person, and the images here don't really give an accurate depiction of his work. "John Alexander: A Retrospective" runs through March 16. Alexander, who was present at the press opening, will be back for a public conversation with chief curator Eleanor Harvey on January 26.



John Alexander, Palm Beach Reflecting Pool (Photo by Tom Jenkins)