William Steiger

Having reviewed and written about William Steiger’s work during an earlier stage of his career, I am taken by the fact that his subject matter and his point of view appear to uphold a consistency.  I am not entirely certain as to what this means by today’s standards, but it seems to imply the artist’s ability to sustain a certain ethos, meaning that he returns again and again to explore and investigate both the visual and conceptual terms that carry these dated architectural and playland entertainment phenomena into the age of the Internet. Therefore, the transition between the Post-Industrial and the Informational Age appears all the more pronounced, if not, deftly poignant in articulating a shift in our consciousness through a painterly means of arbitration. 

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Pace Prints is pleased to present William Steiger: Explorations & Surveys, on view at Pace Prints Chelsea through February 21, 2015. In the artist’s most recent body of work, he transforms his collection of vintage lithographs by means of collage, altering the narrative of each image. The exhibition will include Silvercup (2014), the artist’s newest aquatint and soft ground edition. The print exemplifies Steiger’s interest in graphic qualities of familiar architectural structures in the modern landscape.

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William Steiger’s collages are wondrous, often humorous refractions of early American landscapes. They traffic in a very particular kind of anachronism, grafting zeppelins, prop planes, gondolas, bridges, and the gleaming apparatus of the steam age onto the vast plains and prairies of the nineteenth-century frontier. The images dare us to reconcile two equally innocent visions of American life. One is taut, sleek, and brimming with technological optimism; the other is lush, free, and unspoiled. Neither, it goes without saying, have quite panned out as our forebears hoped they might...

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As the Daft Punk’s catchy chorus on that song, “I’m up all night to get lucky!” Well AF did start the night with a fortunate choice last October 24th at Margaret Thatcher Projects with the ninth solo show of William Steiger entitled what else? - LUCKY.

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William Steiger seems to understand this dynamic thoroughly and seriously: the act of experiencing art is at least half the viewer, what he brings to the table, and art (or any other process of interaction and meaning) need not get in the way with a bulldozer of intentions.

... William Steiger's paintings, which are built out of similar reveries. His work, of course, is produced with a level of focus, clarity and skill far beyond the casual doodles we were cranking out, but there is something similar in the gee-whiz adoration of mechanically complicated contraptions, and moreover in the way the paintings show more-or-less plausible objects that sometimes belie their own origin in an objective world of fact.

William Steiger continues to explore topics of landscape, architecture and evolvement of the early 20th century in this series of new oil paintings and works on paper. In this series of new oil paintings and works on paper.

...William Steiger the owner of an orderly eye if ever there were one, who selects only the most pleasing and succinct details from a tacky and complicated American landscape and paints those in flat color and high relief against otherwise blazingly blank backgrounds of whiteness.

By reducing landscape to simplified forms, New York-based William Steiger creates stark, cool paintings of often-archetypal subject matter. The 11 works (all 2004) in this show depict cable cars, grain elevators, a mill an aerial landscape or the Coney Island Wonder Wheel...

William Steiger's factories, silos, cable cars, and Ferris wheels are clean, serene, and iconic...Mr. Steiger gas a show of new paintings at Margaret Thatcher...