Cedric Chambers

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Cedric Chambers

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About

My name is Cedric Chambers and I was born on June 16, 1990.

BIOGRAPHY
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I’m a Bolivian American oil painter who was born in Denver on June 16, 1990. My father named me Cedric so I would not be burdened with picking a pseudonym. Those who know me best describe me as a sparkling cunning artist with a penchant for gummy bears.

I graduated with a Bachelor’s Degree in Fine Art in 2016 from Metro State University of Denver, where I learned a lot about art history and art theory. I learned the most about painting through my various apprenticeships and private lessons with master painters such as Felicia Forte, who thought me through online lessons via Skype.

I’ve sold hundreds of paintings and I’ve shipped artwork to nearly every continent. I’m a member of The Intemembersnal Guild of Realism, a meta-modern guild whose global mission since its founding is to “recognize the best realists working today”.

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ARTIST STATEMENT
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Modernism arrived when Manet painted his “Olympia.” He critiqued representational art and the aristocratic way of life.[1] Modernism reacted to the techniques used in creating classical art; why imitate reality when we have the camera? The old masters viewed the medium and the substrates as limits to their work. The Modernists, lead by Manet, utilized the medium as the opposite of a limitation. The medium became a method of expression itself. When Postmodernism arrived with Duchamp’s Urinal, he playfully challenged the significance of ideology at its core. If one were to simply put a urinal into an art gallery, does it become art?[2] When Greenberg claimed that Abstract expressionism was the epitome of painting, he critiqued classical representational art both in its technique and ideology.[3] He made broad statements which lost weight when Abstract Expressionism went out of style.[4] In both technique and ideology Photorealism was Abstract Expressionism’s anti-thesis. Instead of transcendence one focuses on the mundane, instead of abstraction one creates pure realism.[5]

Art is a cultural reaction to the change in function.[6] Art was never something that had an endpoint, and any critic who says otherwise is wrong. Culture is a force like the Invisible Hand. As technology progresses, culture progresses too. Street art occurs as a reaction to institutional art.[7] Stuckism emerged as a reaction to conceptual art.[8] The author is only as important as the actor, as the physical embodiment of the Spirit of the Age (German: Zeitgeist). The Zeitgeist is the intellectual fashion or dominant school of thought that typifies and influences the culture of a particular period in time.[15][16] Banksy embodies the zeitgeist of today’s consumer society, while also embodying the innovation of spray paint.

This is the authentic nature of art: to express the historical significance of any given time period, to visually display ideological shifts and to demonstrate the innovations of said era. It’s not something that is dictated by a particular person or group of people. It emerges almost inexplicably, by the application and use of what people find around them; it’s created by the environment, by the ideologies of the era, by wars, by ideas, by technological developments. Without the camera there could not be photography, without feminism there could not be feminist art. Art exists as the objectification of culture itself. Often it’s simplified, limited by the materials it employs, like performance art. Art is practiced in all its glorious styles, embodied by people of all backgrounds. In this way, painting never died.
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[1] Édouard Manet's Olympia by Beth Harris and Steven Zucker". Smarthistory. Khan Academy. Retrieved 11 February 2013.

[2] "An Overview of the Seventeen Known Versions of Fountain". 2007. Retrieved 2014-06-09.

[3] Clement Greenberg, "Art and Culture Critical essays", ("The Crisis of the Easel Picture"), Beacon Press, 1961 pp.: 154–57

[4] PBS. Accessed September 24, 2015. http://www.pbs.org/faithandreason/gengloss/postm-body.html.

[5] Nochlin, Linda, "The Realist Criminal and the Abstract Law II", Art In America. 61 (November-December 1973), p. 98.

[6] Dean, Tim. "Art as Symptom: Žižek and the Ethics of Psychoanalytic Criticism." Diacritics 2, no. 32 (2002): 21-41.

[7] "Neo-graffiti" is a term coined by Tokion Magazine in the title of its Neo-Graffiti Project 2000, which featured "classic" subway graffiti artists working in new media; others have called this phenomenon "urban art." A discussion by the Wooster Collective on terminology can be found at WoosterCollective.com.

[8] "Glossary: Stuckism", Tate. Retrieved 16 September 2009.

Shop members

  • Cedric Chambers

    Owner, Artist, Oil Painter

    I was born on June 16, 1990. I graduated from Metro State University with a Bachelors Degree in Fine Arts in 2016. I’m a member of NEXT gallery, The Portrait Society of America, and the Oil Painters of America National Art Guild.

  • Charles Sullivan

    Assistant

    I believe in Cedric's artwork.

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