Additional information on Banks Violette the-artists.org
Modern and contemporary artists and art ā Banks Violette teamgal.com
Banks Violette is an odd case -- something of a cross between Delacroix and Cady Noland. A consummate craftsman equally proficient at painting and sculpture, Violette is a present day history painter rendering the social landscape in which we live and the way the signs of our times breed and contain stories of violence. Violette's installations investigate the truly dark corners of American culture in a vernacular that weds an appreciation of high art forms to a kitsch Gothic sensibility. A consistent bearer of bad news, Violette here explores a recent horrific case with both passionate obsession and clinical detachment. newyorkmetro.com
- Banks Violette; The Grown-up Goth
Biennial curator Chrissie Iles has described Banks Violetteās work as embodying āthe dark side of the heavy-metal American dream.ā (Weāll confess that we were unaware there was a light side.) His high-contrast drawings and onyxlike sculptures, full of references to Satanic ritual murder and suicidal Judas Priest fans, certainly seem to fit that description. cockrockdisco.com
- An interview with Banks Violette
1. How did you get involved with making art with such a "difficult" iconography?
Its funny, because I've never thought about the iconography I use as particularily problematic. My relation to using that kind of visual language has more to do with my background, personal history or whatever than trying to be provocative in any way. I've always been really interested in how these images function, than how they appear i.e: what kind of frustrations are being navigated by this really angry seeming image, what kind of really basic human sorrow has to be compensated for by this type of language? Maybe not always sorrow, but I kind of gravitate towards a melancholic reading of things. artnet.com
Ultra-Violette by Ben Davis
The first thing you see when you enter the Whitneyās first-floor project gallery is the 16 x 20 foot recreation of a burned-out church, slightly elevated atop a gleaming, mirror-like black stage. The beams of the structure are zombie white, gashed here and there, made of salt bonded with polyurethane resin. In places, the structure is broken, the jagged ends rimmed with black as if charred. fringeunderground.com
- Banks Violette: Violent Visions. Flowering Fantasies by Dee Dee Vega
When you enter the exhibition room for Banks Violette's installation at The Whitney Museum of Art, it is hard to imagine that his coldly genteel sculpture was the fruit of the artist working for months in a chemical suit slaving over 200 pounds of Red Cross salt and epoxy.briansholis.com
- Banks Violette by Brian Sholis
New Yorkers are uniquely positioned to assess the recent development of Banks Violetteās art. While his star is everywhere on the rise, it is already incandescent in this town, evidenced by his recent omnipresence in group exhibitions and the commission he received from the Whitney for his first-ever solo museum exhibition. artfairsinternational.com
- Banks Violette at Work Interview by James Westcott
James Westcott: Whatās your new work for the Whitney about?
Banks Violette: There were a series of events that took place in Norway in the early 90s within the subculture of black metal. It happened in a place that is ethnically homogenous, with an elevated average income, and where Christianity has a large function in day-to-day life. In the early 90s, a group of about 20 teenagers got heavily involved with more extreme versions of heavy metalātheatrically aggressive, overtly satanic, the real barbarian dimension of heavy metal.