Kylie Manning, Dog Days, 2021, oil on linen, 60" × 84" (152.4 cm × 213.4 cm) © Kylie Manning Kylie Manning © Meghan Marin Details:1983, Juneau, AlaskaConnect:kyliemanning.com@manningkylie Read More Kylie Manning is a painter based in Brooklyn, New York. Both art teachers, Manning's parents often moved their home in Juneau, Alaska, to various regions in Mexico for extended periods. Manning's work is heavily informed by the atmospheres, latitudes, and colors present in the various geographies of her childhood, where she witnessed the impacts of social, political, and economic change.Using brushwork, light, and balance, the artist captures moments within her personal history, such as her time working on Alaskan fishing boats and memories of surfing in Mexico. Her works primarily originate from within themselves, but she also sources imagery from old family photographs. Her oil paint compositions center on ethereal, gestural, and genderless figures within expansive, disparate landscapes. While some appear more clearly, other figures are defined by lyrical swathes of paint suggesting a face and the outline of a body. Manning purposefully leaves the origin, gender, and raison d'être of the forms within her paintings up to interpretation, allowing the viewer to step into her world, yet form their own reading of the work. The resulting powerful works vibrate with energy and light, flickering before the viewer's eyes.Manning explores the balance between figuration and abstraction through expert draftsmanship, painting, mark-making, and a refined technical process. Within her painting practice, the artist begins each body of work as a family, stretching the surfaces and employing rabbit skin glue, which primes the canvas and provides a buoyant backdrop. She spends a great deal of time spreading oil ground (a material used to prime oil paintings) with a palette knife, before sanding down each layer, building a relationship to each individual piece before she brings in color. She is acutely aware of the scale, energy, and groove of the linen before ‘beginning.’ There are no sketches or predetermined compositions; she finds the image with and in front of the viewer so they may determine how the piece was formed.When Manning eventually incorporates color, it begins through a hierarchy of refracted light. She grinds pure pigments with safflower oil and starts with a Sumi-e-like wash using broad chip brushes and paint rollers to create thin but wide strokes along. While still wet, she takes a rag and begins to pull the composition out by wiping and ripping away saturated areas. Eventually sketching in paint with loaded brushes, she reiterates or shifts the composition. Each layer is separated with a slightly thicker layer of safflower and walnut oil to refract light, a technique common with Dutch Baroque painters, such as Johannes Vermeer. Orchestrating ethereal sketches of landscapes and figures, she balances delicate whirlwinds of color with a contemporary feminist sense of humor. Manning’s works feel simultaneously thin and radiant, light glowing from within the paintings themselves.Of Manning, the artist Gaby Collins-Fernandez says: “For Manning, paint is a medium of inconsistency. If a line can be used to describe the parameter of a body which would not exist otherwise, it can also break the continuity of a painted picture. A line can misbehave, it can unstick itself from its place in proper perspective; can contour the wrong parts of the story; remind us that images are not a given in art. If eyes can gaze back at a viewer, so can stains. If brushwork can evoke water, grasses, and mists, it can also do a dance led less by grace than excitement, unsettling a painting laterally, in ripples. If gesture is a language, so are expressions and emoticons.”Through her practice, Manning re-contextualizes the concept of traditionally gendered “masterpieces" with an eye toward contemporary feminism. Her visual lexicon is as much in conversation with J.M.W. Turner and Frans Hals as it is Ruth Asawa and Berthe Morisot. The Art Historian Theodore Barrow notes that, “Manning’s work engages with the sublime in both senses: drawing from an epic tradition of seascapes of [Claude-Joseph] Vernet, Turner, [Gustave] Courbet, and [Winslow] Homer, in which immersive, fluid brushstrokes stoke aural networks, so that one feels them viscerally as much as optically. But ‘sublime’ also means to vaporize, to sublimate, and the abstract quality of her work, held in tightrope suspension above the figurative, beckons a non-verbal connection, a sensate bond that speaks to the body, not the mind.”Manning is a graduate of Mount Holyoke College, Massachusetts with a double Major in Philosophy and Visual Arts. While earning a master's degree from the New York Academy of Art, Manning was sent to Leipzig, Germany to exhibit and work alongside the New Leipzig School where she had a studio down the hall from the artists such Christiane Baumgartner and Neo Rauch. In Germany, she was exposed to this school's version of Surrealism, whose tenets she now experiments with in her practice.Manning has been practicing and exhibiting her work for over fifteen years. Recent solo exhibitions of her work include Kylie Manning: Aftermath, Sabines Museum of Contemporary Art, Tuxtla Gutierrez, Mexico (2015); Kylie Manning: Waldeinsamkeit, KN Gallery, Berlin, Germany (2017); and Kylie Manning: Zweisamkeit - Being in Two Is No More Than Doubled Solitude, Anonymous Gallery, New York (2021). Her work is held in numerous collections worldwide including the Columbus Museum of Art, Ohio; Institute of Contemporary Art, Miami, Florida; X Museum, Beijing, China; and Yuz Museum, Shanghai, China. Read More Kylie Manning, Clove hitch, 2021, oil on linen, 64" × 86" (162.6 cm × 218.4 cm) © Kylie Manning Kylie Manning, Doldrums, 2021, oil on linen, 68" × 96" (172.7 cm × 243.8 cm) © Kylie Manning Kylie Manning, So glad you came, 2021, oil on linen, 30" × 40" (76.2 cm × 101.6 cm) © Kylie Manning Kylie Manning, Hold on Tight, 2021, oil on linen, 60" × 72" (152.4 cm × 182.9 cm) © Kylie Manning Kylie Manning, Squall, 2021, oil on linen, 72" × 72" (182.9 cm × 182.9 cm) © Kylie Manning Kylie Manning, Weathervane, 2021, oil on linen, 60" × 84" (152.4 cm × 213.4 cm) © Kylie Manning Exhibitions View All On View Kylie Manning You Into Me, Me Into You Mar 28 – May 13, 2023 Geneva Past Tropic of Cancer Feb 9 – Mar 12, 2023 Palm Beach Past Kylie Manning Both Sides Now Sep 16 – Oct 29, 2022 Los Angeles Journal View All Films Explore Artists New to Pace Oct 11, 2022 One-Artist Exhibitions Group Exhibitions Public Collections Periodicals Close One-Artist Exhibitions Kylie Manning - One Artist Exhibition DatesBorn 1983, Juneau, AlaskaLives and works in Brooklyn, New YorkEducation2010, New York Academy of Art, New York, MFA2006, Magna Cum Laude Double Major in Visual Art and Philosophy, Mount Holyoke College, South Hadley, Massachusetts, BA2023Kylie Manning: You Into Me, Me Into You, Pace Gallery, Geneva, March 28–May 13, 2023.2022Kylie Manning: Both Sides Now, Pace Gallery, Los Angeles, September 16–October 29, 2022.2021Kylie Manning: Zweisamkeit - Being in Two Is No More Than Doubled Solitude, Anonymous Gallery, New York, New York, May 7–June 18, 2021.2017Kylie Manning: Waldeinsamkeit, KN Gallery, Berlin, Germany, 2017.2015Kylie Manning: Aftermath, Sabines Museum of Contemporary Art, Tuxtla Gutierrez, Mexico, 2015.2013Kylie Manning: Fisticuffs, Life Gallery, Leipzig, Germany, 20132012Kylie Manning: In Bester Form, Archive Massive Gallery, Spinnerei, Leipzig, Germany, 2012.2011Kylie Manning: Rundgang, Archive Massive Gallery, Leipzig, Germany, 2011. Group Exhibitions Kylie Manning - Group Exhibitions 2021Convergent Evolutions: The Conscious of Body Work, Pace Gallery, 510 West 25th Street, New York, New York, September 10–October 23, 2021.Sunsets On Mars Are Blue, John Little Gallery at Duck Creek, East Hampton, New York, June 12–July 18, 2021.Ex-Files, One Mile Gallery, New York, New York, 2021.2020Abstract is Not a Style, Hollis Taggart Gallery, Southport, Connecticut, November 5–December 23, 2020.Covid 19 Diaries, LoVASS Projects, Munich, Germany, opened on July 2, 2020.Glean, Page Bond Gallery, Richmond, Virginia, December 10, 2020–January 16, 2021.2019Recess, Page Bond Gallery, Richmond, Virginia, July 11–August 30, 2019.Every Woman Biennial, La Mama Gallery, New York, New York, May 19–29, 2019.2018NGORONGORO II, Lehderstrasse, Berlin, Germany, April 26–29, 2018.2017Remember It, KN Gallery, Berlin, Germany, 2017.Het Wilde in Dialoog, De Warande, Turnhout, Belgium, 2017.Bobbejaan, Zeedijk/Parijs, Ostend, Belgium, 2017.2016Greenhous, One Mile Gallery, Kingston, New York, 2016.2015Aftermath, Jaime Sabines Museum of Contemporary Art, Tuxtla Gutierrez, Mexico, 2015.2014Spacetime, Farm project Space + Gallery, Wellfleet, Massachusetts, 2014.2013Fisticuffs, Life Bomb Gallery, Leipzig, Germany, 2013.2012In Bester Form, Spinnerei, Leipzig, Germany, 2012.2011Group Exhibition, Archive Massive Gallery (Spring Spinnerei Rundgang), Leipzig, Germany, 2011.2010Group Exhibition, Caps Lock Gallery, Berlin, Germany, 2010.Rundgang, Spinnerei, Leipzig, Germany, 2010.The Natural Order, Camel Art Space, New York, New York, 2010.2009100 Year Celebration Exhibition, Spinnerei, Leipzig, Germany, 2009.2008Group Exhibition, Juneau Arts and Humanities Council, Alaska, Alaska, 2008. Public Collections Kylie Manning Public Collections Columbus Museum of Art, Columbus, OhioInstitute of Contemporary Art, Miami, FloridaWhitney Museum of American Art, New York, New YorkX Museum, Beijing, ChinaYuz Museum, Shanghai, China Periodicals Kylie Manning Periodicals 2022Aaron, Rebecca. "At Spazio Amanita, 'I DO MY OWN STUNTS” Marks Jack Siebert’s Curatorial Debut'" (Spazio Amanita exhibition review). Cultured Magazine, 18 February 2022. https://www.culturedmag.com/article/2022/02/18/at-spazio-amanita-i-do-my-own-stunts-marks-jack-sieberts-curatorial-debutHaimes, Helena. “KYLIE MANNING | THAT GREAT EXPANSE, THAT BEACON FOR THE SPIRIT.” (Pace Gallery exhibition review). Flaunt, 7 October 2022. https://flaunt.com/content/kylie-manning-that-great-expanse-that-beacon-for-the-spiritLubow, Arthur. “Artist Kylie Manning Is Playing the Long Game.” W Magazine, 29 April 2022. https://www.wmagazine.com/culture/kylie-manning-artist-studio-visit-interview-2022Malone, Tyler. “Both Sides of a Cloud: Kylie Manning at Pace Gallery” (Pace Gallery exhibition review). Art in America, 27 October 2022. https://www.artnews.com/art-in-america/aia-reviews/kylie-manning-pace-1234644449/’2021Collins-Fernandez, Gaby. "Zweisamkeit - Being In Two Is No More Than doubled Solitude" (Anonymous Gallery exhibition review). XIBT, 2021.Fontaine, Pearl. "Kylie Manning Explores Togetherness at Anonymous Gallery" (Anonymous Gallery exhibtion review). Whitewall, 3 June 2021. https://whitewall.art/art/kylie-manning-explores-togetherness-at-anonymous-galleryGavoyannis, Olivia. “How Christiana Ine-Kimba Boyle Is Revolutionizing the Art Market as Pace’s First Director of Online Sales” (Pace Gallery exhibition review). Artsy, 22 October 2021. https://www.artsy.net/article/artsy-editorial-christiana-ine-kimba-boyle-revolutionizing-art-market-paces-first-director-online-salesHowie, Jamie. “7 Must-See Gallery Exhibitions in New York This September” (Pace Gallery exhibition review). Galerie, 17 September 2021. https://www.galeriemagazine.com/must-see-gallery-shows-september-2021/Ologundudu, Folasade. “Pace Gave Its New Digital Director Christiana Ine-Kimba Boyle the Keys to Its Brick and Mortar Gallery. The Results Are Refreshing” (Pace Gallery exhibition review). Artnet News, 9 September 2021. https://news.artnet.com/opinion/christiana-ine-kimba-boyle-2006877