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Welcome.

Jack Balas is an artist working in painting and photography, cross-referenced at times with writing and other media.  A recipient in 1995 of an individual fellowship in painting from the National Endowment for the Arts, he is represented in the Brooklyn Museum of Art (New York), the Tucson Museum of Art and the Kent & Vicki Logan Collection at the San Francisco Museum of Modern Art.  A portfolio of his paintings "Today I Drove Along the Rio Grande" was published in issue #120 of The Paris Review (New York).

This website includes a broad spectrum of the artwork divided into individual media
in the above navigation bar. You can read an artist statement and get an overview of the work by taking a TOUR.  The newest painting and photo work is in the black area below, while a few other highlights from the past are in the adjacent gray.

 

A note about the typeface size used: many browsers seem to display the text on this site at a much larger size than what was intended. You can reduce the text size in most browsers. A general recommendation would be at 75% if it seems too big for you.

 

 

Current Work: 2008

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NOW & COMING UP:

 

"WE'LL BE SEEING YOU"
Solo Exhibition and Artist Residency
Museum of Contemporary Art
Denver, Colorado
June 3 -September 7, 2008

 

concurrent with:

"TATTOO DETOUR:
JACK BALAS AND
HONOLULU ON PAPER"

Robischon Gallery
Denver, Colorado
Summer, 2008

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SCOPE - BASEL
June 3-8
Uferstrasse 80
Basel, Switzerland

(presented by
Creative Thriftshop, Brooklyn)

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The BROOKLYN MUSEUM,
New York City,
has recently acquired two pieces
from the MUSE / MUSEUM series
for its permanent collection.

 

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NEW PAINTINGS

CATALOG ESSAY for "DECADES OF INFLUENCE" and "EXTENDED REMIX"
Museum of Contemporary Art, Denver

"Artist and catalogue contributor Jack Balas captures the boom mood in his poetic essay about being a laborer for hire. His description of driving across the country as an art shipper in the 80's expresses the increasing vulnerability of the artist through a portrait of the landscape. Looking in the rearview mirror suggests that the 90's represented the point of no return for the contemporary art world."

Cydney Payton, Executive Director /
Chief Curator, MoCA Denver.

 

 

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TATTOO DETOUR:
Fort Honolulu and the USS Waikiki

-- a drawing portfolio --

 

Cover Image for
"How to Name a Hurricane"
by Rane Arroyo
University of Arizona Press

In Bookstores Now

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inclusion in "SELF-EXPOSURE:
THE MALE NUDE SELF-PORTRAIT"
photo anthology by Reed Massengill,
published by Rizzoli International,
New York

In bookstores now

 

 

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xxSeries:
xxMUSE / MUSEUM

     

highlights FROM THE ARCHIVE:

All contents of this site
© 2002-08 by Jack Balas
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1990's PAINTINGS

  STUDIO MEN

 

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SPANISH MOSS:
AN EFFIGY OF THE SOUTH