The Annual Exhibition

January 25, 2012 to April 29, 2012

The National Academy Museum New York, NY Featuring works by over 100 artists and architects, the Annual reveals the cross-generational dialogue occurring in the art world by juxtaposing contemporary masters with emerging and mid-career artists, showcasing Academicians and invited artists and architects. Joe Coleman's painting Mary Bell is in the exhibition and the catalog. http://www.nationalacademy.org/art-museum/exhibitions/

Houdini: Art and Magic

October 29, 2010 to March 27, 2011

The Jewish Museum, New York City.

Traveled to The Skirball Center, Los Angeles, CA, April - September 4, 2011

The Contemporary Jewish Museum, San Francisco CA, October 2, 2011 – January 16, 2012

Madison Museum of Contemporary Art, Wisconsin, February 11, 2012 – May 13, 2012

Joe Coleman - Auto-Portrait

October 28, 2010 to December 22, 2010

Centering around an almost-life-size full-length self-portrait, AUTO-PORTRAIT is an exhibition of new work which provides a fascinating insight into the life of this artist. Around this large-scale composition will be a series of small, religious icons. Painting on 'found' folding dyptichs and tryptichs, Coleman has produced a group of family portraits, self portraits, and highly personal subjects, with the intensity of religious icons.

A fully illustrated catalogue will accompany the exhibition.


Slideshow of opening (1 of 2)
Slideshow of opening (2 of 2)

Joe Coleman: AutoPortrait

October 28, 2010 to December 22, 2010

NEW YORK—Dickinson is pleased to announce an exhibition of new work by Brooklyn-based painter Joe Coleman.

The Artist:
Coleman’s portraits create complete biographies by surrounding their subjects with interweavings of minuscule images and explanatory text. Artist and viewer embark on exploratory excavations of the subject’s life through the painting. Coleman’s jewel-box approach means that one experiences the paintings afresh at each viewing, uncovering ever more details and nuances that were previously undetected. An admirer of Northern artists such as Bosch, Brueghel and Grunewald, Coleman employs the same attention to detail and delicate sense of scale, utilizing dual and single haired brushes in conjunction with magnifying lenses to create his refined masterpieces. Like those artists, Coleman also displays a propensity for the gruesome and grisly and often attempts to both dissect and glorify the terrible in many of his paintings, unmasking with brutal honesty the truth of human nature.

The Exhibition:
Centering around a full-length self-portrait, the artist's largest and most ambitious painting to date, AUTO-PORTRAIT is an exhibition of new work which provides a fascinating insight into the life of this artist. Depicting himself almost life-size, this portrait is set against the usual tapestry of minuscule portraits and scenes from the artist’s life, presenting the viewer with captivating insights into the enigmatic artist at its center.

Around this large-scale composition will be a series of small, religious icons. Painting on 'found' folding dyptichs and tryptichs, coleman has produced a group of family portraits, self portraits, and highly personal subjects, with the intensity of religious icons. The devotional format not only gives each picture a sense of veneration, but also references Coleman's long-professed obsession with early renaissance painting.

Auto-biography has long been the focus of Joe Coleman's painting, and this new body of work represents the artist's most personal and intimate group of paintings to date. None of the works in the show have been previously exhibited or published.

A fully illustrated catalog will accompany the exhibition.

The Endless Renaissance

April 16, 2009 to August 1, 2009

Bass Museum, Miami

Coleman's work is displayed alongside works by Nicole Eisenman, Byron Kim, Thomas Struth and others inspired by the Renassiance.

"Joe Coleman’s Portrait of Carlos Gesualdo is perhaps the artist’s most explicitly conceited painting to echo the structure of medieval forms of narrative imagery, since here Coleman portrays the medieval composer-murderer within a structure meant to suggest manuscript illumination, altarpiece or stained glass window. Coleman’s legendary obsession with violence, the grotesque, death, and pathos, influenced by a range of artists from Bosch and Breughel to Goya, is noted by a selection of Goya’s etchings from the Disasters of War."


The Triptych in Modern Art

February 7, 2009 to June 14, 2009

KunstMuseum Stuttgart Germany.
Joe Coleman's "War" Tryptich exhibited with Otto Dix War Tryptich.

Man Son 1969 - The Horror of the Situation

January 30, 2009 to April 26, 2009

Hamburger Kunsthalle in Hamburg, Germany.
Included Coleman's "Portrait of Charles Manson", "As You Look Into the Eye of the Cyclops.." and "American Venus".

Devotio Moderno: Joe Coleman/Northern Primitives

May 2, 2008 to June 15, 2008

Mixing the work of Joe Coleman with that of Northern Primitives, artists from the Renaissance period.

Joe Coleman: Internal Digging

May 27, 2007 to October 21, 2007

KW Institute, Berlin Germany. A book/catalog, "Internal Digging" was published. Rebecca Leib posted a Photo Album of his opening and exhibition.

Joe Coleman: 14 Paintings

February 1, 2007 to March 11, 2007

Palais de Tokyo, Paris, France.

An obsessive pictorial universe embracing madness, holiness and serial killers
An artist, performer, musician and actor, Joe Coleman is a legendary New York figure. Playing with pathological obsession and a fascination for psychopathic tendencies, his dense and detailed paintings plunge viewers into an illuminated Gothic universe featuring cultural icons of violence, anti-heroes and historical figures. His works are more than simple portraits: they recount the lives and legends of their subjects (serial killers, the deranged, etc.) by adding texts, stories and a labyrinth of mini-scenes, rendering the reading of the images and text chaotic, all the while maintaining a highly structured and delicate compositional sense. His painting presents itself as an autopsy of the human condition – concentrating on its violent or demented side – which he dissects with a scalpel on the surface of a canvas.

Influenced in equal measure by Renaissance painting, medieval illuminations and crime comics of the 1950s, the artist replaces images of saints with contemporary figures of holy madness. His work exists in the tradition of painters like Bosch, Bruegel, Grünewald or Goya who were also inspired by madness, trauma or suffering. To this awareness of loss and human fear, Coleman adds a dimension of humour and a pictorial intensity that is almost hallucinatory.

Indian Larry, Glory of New York, War Triptych, Joe’s Fear of Disease, Big Bang: these are among the titles of the pictures Joe Coleman presents at his first exhibition at the Palais de Tokyo. A collection of twenty paintings by this self-taught artist provides an introduction to this world fed by obsessions and eccentricities. Mixing popular cultures and religions, the images of festival, war, paradise and hell seem like the extreme coordinates of a joyful world that is nonetheless haunted by perversity

This exhibition is presented in partnership with The Cartin Collection, Hartford, Connecticut and is curated by Steven Holmes. Since the 1980s, Joe Coleman had exhibited at various galleries in East Village in New York such as Limbo, Civilian Warfare and Chronoside. His work has also been shown at the American Visionary Art Museum, the Hieronymus Bosch Museum, the Wadsworth Athenaeum at Hartford, Connecticut, as well as the Seattle Contemporary Art Center. Coleman also maintains the Odditorium, his ongoing museum-like installation full of strange and disturbing objects including “vintage” weapons or taxidermy specimens.

Article about show here