Color Test (9), 2019. LED lightbox, Fujitrans, 26 x 26 x 4.5 inches.
Goldberg Variations 4 and 5, 2016. Fluorescent fixtures, filters, 63 x 34 inches.
Fog (Penobscot Bay), 2017. Pastel and pencil on paper, 41.125 x 52.5 inches, framed.
Word Rain (Shakespeare Sonnet 60), 2018. Watercolor on paper, 32.125 x 44.875 inches, framed.
Moonlight (Yellowstone), 2017. 12-4 Fluorescent fixtures, filters, 90 x 90 x 2 inches.
Studio Window (infrared, morning effect, 3/10/18), 2018, Oil pastel on paper, 30 x 30 inches.
The Brain — is wider than the Sky (squared square of order 21 for Emily Dickinson), 2018. Collage on matboard, 28.5 x 28.5 inches.
Thank you, Fog, 2009. Archival inkjet prints. 4.5 x 4.5 inches, each image, 11.75 x 11.25 inches, framed, 60 photographs total, Edition of 3.
Sky Over Coney Island (November 26, 2004, 12:47 pm. Southwest View Over The Cyclone), 2004. Helium balloons and string, Dimensions variable; each balloon 11 inches, diameter.
Pacific Ocean, Stinson Beach, California, November 10, 2004 (noon effect), 2009. Watercolor on paper (fabriano exta white hot press), 22 x 30 inches, paper, 25.313 x 33.5 inches, framed.
Vanitas (Tulips), 2012, Archival inkjet print, 16.5 x 16.5 inches, each print, 18.75 x 18.75 inches, each frame, Edition 2 of 3.
The sensation as I sit down in my studio chair #7, #8 & #9 (after Beckett), 2016, Pastel and pencil on paper, 18 x 18 inches, paper, 20.75 x 20.75 inches, framed.
Painting Air, 2012. 112 glass panels, hardware, and paint, Dimensions variable.
Spencer Finch (b. Connecticut, 1962) lives and works in Brooklyn, NY. He studied at the Rhode Island School of Design, Hamilton College, and Doshisha University in Kyoto, Japan. Finch has exhibited internationally since the early 1990s, and recently completed large scale public projects at the Harvey Milk Terminal at The San Francisco Airport (Orion) and at the Paddington Crossrail Station in London (A Cloud index). His upcoming installations include Secret Life of Glass at the Corning Museum and Moon Dust, a long term installation at the Museum of Fine Arts Houston. His solo museum exhibitions include A Certain Slant of Light at The Morgan Library in New York City in 2014, The Skies can’t keep their secret at the Turner Contemporary Museum in Margate, UK in 2014, Following Nature at the Indianapolis Museum of Art in 2013, Painting Air at the Rhode Island School of Design Museum of Art in 2012, Lunar at the Art Institute Chicago in 2012, My Business, with the Cloud at the Corcoran Gallery of Art in Washington, DC in 2010, and What Time Is It On The Sun? at MASS MoCA in 2007. Finch was included in the 2009 Venice Biennale exhibition, Making Worlds, and the 2004 Whitney Biennial.
His public projects include The River that Flows Both Ways for The High Line in New York City (2009), the glass facade design for the Johns Hopkins Medical Center in Baltimore (2012), Vital Signs for Quadrant 3 in London (2013), Trying to remember the color of the sky on that September morning or the 9/11 Memorial Museum in New York City (2014), and When You Look on the River and Sky (2019) as part of the Whitman at 200 celebration in Philadelphia. His work is held in numerous museum collections including the Art Gallery of New South Wales, Sydney; the Glasgow Museum of Art, Glasgow; the High Museum of Art, Atlanta; the Solomon R. Guggenheim Museum, New York; the Hirshhorn Museum and Sculpture Garden, Washington, DC; the Morgan Library, New York; the Museum of Contemporary Art, Chicago; the Museum of Fine Arts, Houston; Museum für Moderne Kunst, Frankfurt; the National Gallery of Art, Washington, DC; and the Whitney Museum, New York.
Spencer Finch opens Fifteen stones (Ryōan-ji) at Kyoto's “The Temple of the Dragon at Peace” as part of a program of artistic interventions at the Mies van der Rohe Pavilion.
Review of Me, Myself, and I (A Group Show) at Berggruen Gallery.
Public Art Fund and Forest City Ratner Companies announce Spencer Finch: Lost Man Creek.
Review of Saturated Light at Rhona Hoffman Gallery.
Review of H2O at Rhona Hoffman Gallery.