I was in San Francisco not too long ago, and found murals on the sides of buildings that were amazing! Then I found myself in a museum there, where I saw artwork by the same artist, which led me to today’s post. ANDREW SCHOULTZ is an amazing muralist, artist and thinker.
I really loved his attention to detail and the fact that his art doesn’t get lost by the size. You know, sometimes murals to canvas is a big leap, and one not easily made. Kind of like tripling a recipe and it comes out ready for the garbage! His works are awesome and intricate. I hope you enjoy this post!
Sourcing inspiration from 15th Century German map making and Indian miniature paintings, Andrew Schoultz’s frenetic imagery depicts an ephemeral history bound to repeat itself. In his mixed-media works, notions of war, spirituality and sociopolitical imperialism are reoccurring themes,
which shrewdly parallel an equally repetitive contemporary pursuit of accumulation and power. Intricate line work, painting, metal leaf and collage twist and undulate under Schoultz’s meticulous hand, ranging from intimately sized wall works to staggering murals and installations.
While his illustrated world seems one of chaos and frenzy, Schoultz also implies a sense of alluring fantasy and whimsy – a crossroads vaguely familiar to the modern world.
Schoultz (b. 1975, WI) received his BFA from the Academy of Art University, San Francisco (CA). He has had solo exhibitions in Los Angeles, New York, San Francisco, Copenhagen, Philadelphia, Rotterdam, Boston, London, Portland, Detroit and Milan. He has been included in group exhibitions
at the Andy Warhol Museum (PA), Torrance Art Museum (CA), Havana Biennial (Cuba), Hyde Park Arts Center (IL), Laguna Art Museum (CA), San Francisco Museum of Modern Art (CA), among others. His work can be seen in the public collections of the San Francisco Museum of Modern Art (CA),
Frederick R. Weisman Foundation (CA) and the Progressive Art Collection (OH), in addition to his publicly funded murals in Portland (ME), Jogjakarta (Indonesia) and San Francisco (CA). Schoultz lives and works in San Francisco (CA).
This is an excerpt from an interview Schoultz gave, that I thought shed a lot of light into his personality and his art!
“A lot of the reoccurring themes have to do with the fact that I am drawn to story telling (In a non-definitive way). In stories, characters re-occur and build themselves. I like the idea of developing a character or image. Painting and drawing something over and over again seems like a very natural way to
develop something. Undoubtedly, if you paint the same thing hundreds of times, it is naturally only going to get better and better and development can’t help but happen. Repetition also stems from being involved in graffiti for the last half of my life. Writing the same word over and over, and slowly it changes,
and finds a meaning. Some of the imagery I have been using as of late is sort influenced by a cross section between 15th century German map making, and Indian miniature painting from around that same time period. Most of the purpose behind these two art movements was for conquering new frontiers,
telling stories of war, spirituality, belief systems, and also for the recording of history of those time periods. I am trying to form a parallel with this time period but sort of contemporize it, and address the same subjects that they were addressing but in a present day sense. There is something interesting about
using this type of imagery that was based on older times of war and conflict, to talk about the present day mess that the US is in. This war is insane, and I can’t help but vocalize this in my work. You know the saying “If you don’t know history, it will repeat itself” (or something like that)? It sure seems like in
I guess I would say I am not as drawn to making art in public places, as I am drawn to the general audience of the public. I like that audience. It is the most truly diverse audience that you can address with art in America today. Your audience could literally be anyone and I like that possibility. It also eliminates
the element of preaching to the choir because it would be impossible to predict who that choir would be on a consistent basis. I think this is the fact that really changes the way you go about doing art in the public space versus in the gallery. Children are also an important audience to me and are often an
audience that is almost non existent in the gallery world.”