This work is a continuation of the American Collection Painting series, in which Rideout aims to align images of contemporary interiors with the history of interior painting. Specifically, the title alludes to seventeenth-century Flemish gallery and collection painting, in which the paintings function as records of the vast collections of artworks owned by the subject. More broadly, these paintings function as a record of contemporary time, place, aesthetic concerns, values, markets, and so on.
Brian Rideout makes pictures about pictures. In his work, he investigates contemporary images, from print and online sources, for their art-historical relevance, as a continuation of the history of painting and image production. Rideout’s works comprise a narrative of art, architecture, and object following an undulating cycle of definition, utility, and design, softly dramatizing the multiple registers that art has come to occupy and employ over time as a material thing wholly existing in the world. He is interested in art as document, decoration, ideological accessory, and technological or functional support.
Rideout was the 2017 recipient of the Premier’s Awards for Excellence in the Arts. He studied at Georgian College (Barrie, ON) and has recently had solo exhibitions at MKG127, Parisian Laundry, AC Repair Co., and Georgian College. Recent group shows include Spring/Break Art Fair (New York), Art Toronto (Toronto), Unkempt at MAW (New York), Open House at Sleep Center (New York), The Agency of Acquaintances at the Clint Roenisch Gallery (Toronto), and Taking [a] part at Mercer Union (Toronto). His work can be found in the collections of TD Bank Group and Royal Bank of Canada (Toronto); National Bank of Canada (Montréal); Estée Lauder (New York); and PCI Developments Corp (Vancouver); as well as in many private collections.