About Chris
Chris Ballantyne’s work focuses on vernacular architecture and observation of the American landscape.  Banal features of suburban and industrial zones are sources for paintings that highlight the quirky and absurd.  Ballantyne states that, “Growing up in a military family and moving to different parts of the country, there was a certain familiarity to the kinds of houses and neighborhoods. They were a series of suburban developments built in separate regions of the country, always on the outskirts of larger cities, at the exit ramps of interstate highways, and all very similar in age and design.  My own notions of space developed out of this cultural landscape which was striving for an indidvidual sense of personal space,  consciously economic, and somewhere between urban and rural.” Dysfunctional structures are flawless in their strangeness, made beautiful through symmetry, simplified lines and flat, subdued colors. Ballantyne eliminates detail to emphasize the subtleties of the way we experience space and our attempts at containment. He extends these concepts further by expanding the imagery of his paintings beyond the picture plane and onto the surrounding walls. “Most of my works involve combinations of various places, drawn from memory. As well, my own interests in skateboarding and surfing altered how I saw  the use of these structures ranging from empty pools, sidewalk curbs, to ocean jetties in a way that tied in to my sense of this larger push and pull between culture and nature.” With shrewd restraint, Ballantyne accentuates the antisocial effects of our built environment with a hint of humor and plenty of ambiguity. A curious emptiness permeates the work of Chris Ballantyne. Graphically rendered buildings, pools, parking lots, and fences take on new meanings and amplified significance, isolated on flat fields of color.
http://www.chrisballantyne.com
Current city: New York
Chris Ballantyne’s work focuses on vernacular architecture and observation of the American landscape.  Banal features of suburban and industrial zones are sources for paintings that highlight the quirky and absurd.  Ballantyne states that, “Growing up in a military family and moving to different parts of the country, there was a certain familiarity to the kinds of houses and neighborhoods. They were a series of suburban developments built in separate regions of the country, always on the outskirts of larger cities, at the exit ramps of interstate highways, and all very similar in age and design.  My own notions of space developed out of this cultural landscape which was striving for an indidvidual sense of personal space,  consciously economic, and somewhere between urban and rural.” Dysfunctional structures are flawless in their strangeness, made beautiful through symmetry, simplified lines and flat, subdued colors. Ballantyne eliminates detail to emphasize the subtleties of the way we experience space and our attempts at containment. He extends these concepts further by expanding the imagery of his paintings beyond the picture plane and onto the surrounding walls. “Most of my works involve combinations of various places, drawn from memory. As well, my own interests in skateboarding and surfing altered how I saw  the use of these structures ranging from empty pools, sidewalk curbs, to ocean jetties in a way that tied in to my sense of this larger push and pull between culture and nature.” With shrewd restraint, Ballantyne accentuates the antisocial effects of our built environment with a hint of humor and plenty of ambiguity. A curious emptiness permeates the work of Chris Ballantyne. Graphically rendered buildings, pools, parking lots, and fences take on new meanings and amplified significance, isolated on flat fields of color.
 
Unlike a lot of neighborhoods the sidewalks in this area are often still paved in the original slate slabs. You can see “extra” pieces sometimes chained up outside like this…. Why pour concrete?
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Spoonbill and Sugartown Booksellers is in a pretty visible spot at 218 Bedford Avenue in the Williamsburg neighborhood. I still can’t help but point it out as one of my favorite places to check out books, especially arts related publications. Needless to say its an easy place to stop by with plenty of things to see in the immediate area.
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The jetties along Rockaway Beach are one of my regular destinations when I can get out there. I grew up in a Coast Guard family and spent a fair amount of time around the ocean and surfing. I still like to get in the water and this is the first Atlantic-exposed beach on Long Island as you start to get out of the city. When it comes to the environment, constructions like these can be contentious things but they also make for a series of interesting surf spots. Its got a lot of New York metro qualities you might expect including the Subway making its stops a couple of blocks back from the water.
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Always in the shadow of the Brooklyn Bridge, is the most direct route for a bike ride into the city from my place. This is a kind of alcove and lookout point that also reminds me I’m about to reach the top of the climb. I guess I kind of like the series of light bulbs and ornate rivets and metal work, the kinds things you really don’t see from a distance.
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where I walk with my dog near my apartment, is also the remains of what was Fort Putnam in the late 1700’s and later Fort Washington near the Navy Yard. Not the largest park but a regular part of my routine and big enough to feel like you’re still out of the city when you’re in the middle of it.
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This is the view from the Manhattan Bridge of the Fulton Ferry Park, a pretty popular destination being between the Manhattan and the Brooklyn Bridges, which still has the old waterfront tobacco warehouses. It’s changed a bit being made more of a “finished” park with a kind of beach etc, and has also been a regular spot for outdoor music shows, one for me being the memorable 7-7-7 Boadrum orchestrated by the Boredoms.
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More People in New York 126

Photographer / Film Director / Visual Artist
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Charlotte Strick is a principal at the multidisciplinary graphic design firm, Strick&Williams, founded in 2014 with her longtime friend and colleague, Claire Williams Martinez. The studio collaborates with cultural institutions and clients in the arts, publishing, education, non-profits and everything in-between. For 14 years prior, Strick was a designer turned art director at Farrar, Straus & Giroux, where she designed book covers for much-loved authors like Jonathan Franzen, Roberto Bolaño, and Lydia Davis. Her work has been featured in the AIGA 50 Books / 50 Covers show, the TDC Annual Exhibition, Print Magazine, and in many books about cover design. The proud owner of a coveted Silver Cube from The Art Directors Club, Charlotte is also Art Editor of the distinguished literary magazine, "The Paris Review". Her writings on art and design have been published by "The Paris Review", "The Atlantic", and "The Huffington Post". A graduate of Parsons School of Design, Charlotte lives with her husband and their twin boys in Brooklyn, New York.
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New York based Artist.
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Chris Rubino is a visual artist living in peace in New York with 8.5 million other people.
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Chris Dorland is a NYC based artist. He is director-at-large at Magenta Plains.
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