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Artist Talk, hosted by Eric Guerrero
& the UO Visual Arts Teams & The Department of Art at the University of Oregon

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In 2013, Brooklyn-based artist Joseph Marino Statkun, known as Jomar Statkun, originally sued Grunert and the gallery for “damages for violation of the Visual Artists Rights Act (VARA) of 1990.” According to the suit, a copy of which was obtained by artnet News, the complaint centers on a painting Statkun created, titled Tubal Cain at Beggar’s Creek. The original dimensions of the work were 60 inches by 72 inches.

The painting was sold for $16,000 in August 11 2010, according to the complaint. Two years later, Statkun claims he learned from a former employee of the gallery that  “approximately 10 inches were cropped from Tubal Cain at Beggar’s Creek, without Plaintiff’s knowledge or consent,” according to court papers. A copy of the invoice is attached to the suit, noting the new dimensions of the painting as 50 inches by 72 inches.

In addition to the VARA violation, the artist made claims for violation of the New York Arts and Cultural Affairs Law, breach of contract, fraud, and defamation.

Link to articles:

Dramatization -Reenactment video
of this case & the story of the Cut Painting:

This Red Door

"a brief look back" video:

This Red Door at REH Kunst
Berlin (July 1 - August 31, 2013)

Link to This Red Door:

Conversation Piece

A 10-channel video installation of „blind date interviews“ between ten people living and/or working in Prague, Czech Republic. These interviews focused on questions about relationships, borders, foreignness and mobility.

Conversation Piece is a collaborative project that was created during a three month residency at the Meetfactory, in Prague, Czech Republic from September to December 2015. 

Link to extended trailer and more information:

"Like Butter Plays Toast"

an exclusive interview with the Dealer, Curator, Art Handler, & Artist of the show:  JOMAR STATKUN

Promo Teaser:

Full Interview:

from "Jomar Statkun" exhibition
at Garis & Hahn, 2014

"Kicka Art Space"
Tom Berry + Moderat + K.A.S.

This Red Door presents:

"L'artisan: Rules of the Game (a presentation)"

by Jomar Statkun


The Schneider Museum of Art presents artists

Grayson Cox (2020 VAST resident) and Jomar Statkun in conversation.

This presentation was originally presented and recorded via Zoom on May 14, 2020 during the COVID-19 pandemic.

A Distinguishable Moment Within an Infinitesimal Increment in a Variable


A Distinguishable Moment Within an Infinitesimal Increment in a Variable

By Maggie Wright

Jomar Statkun’s THE CHINESE PAINTING: A Distinguishable Moment Within an Infinitesimal Increment in a Variable, 2011, originates with an abstract painting, but ends, at least in this iteration, with many beats of pixilated sound. Statkun’s work centers on concepts of authenticity and the artistic process; he examines the way images are perceived, translated, filtered, and re-appropriated. In this piece, presented as an installation/performance, Statkun acts as mediator between his work, his audience, and a group of 14 selected collaborative performers, who interact with the newest version of his “image.” The work’s many trajectories and transformations document Statkun’s own artistic exploration. Starting with a thick, painterly abstraction made several years ago, he used an image-based computer application which attempts to recognize or “locate” images from a vast, digital database. Given the painting’s lack of identifiable features, the computerized outcomes were highly “translated,” providing concrete visual imagery for something essentially image-less. A selection of results—landscapes, people, mythological and fantasy scenes—was sent to a painting reproduction factory in China, where workers hand-reproduced the images, again re-interpreting them. Statkun’s removal of himself from the process conceptually echoes the distance of the artist from the print, and references the idea of the multiple—essentially, his “matrix” is the original abstract painting, displaced by its “copy.” With the hired participation of Chinese workers, Statkun comments on ideas of labor and third-world exploitation while questioning ideas of authorship and originality.  


The paintings were next scanned as halftones and shot to silkscreen in a grid of 28 images. The silkscreens, printed in black-and-white, wallpaper the exterior and interior of a room-like, free-standing structure, which serves as the catalyst for the images’ next variation. (The silkscreened wallpaper aptly references an original use of the technique, while also linking its history of mass-production to the repetitive quality of the Chinese factory.) Chinese paintings and reference material (the images’ website sources, photographs of the Chinese “artists,” copies of Statkun’s signature) are displayed, as if decorating a house of infinite variables. Within the installation, Statkun positions himself as “MC”—he is yet another filter in the process—and uploads the halftone files to a computer program that converts their “dots” to beats (from visual data to sound data). The elementary music provides background for a series of invited performers who engage (some improvised, some not) the images’ rhythms, filtering yet again with their own artistic response. Set up as a casual, round-table-like discussion, Statkun becomes the moderator of a collaborative “conversation”—its subject the now audible images, the artist simply one working part of a larger mechanism. In the continuing evolution of his project, Statkun searches for the ultimate distillation of an artwork’s “essence,” attempting to dislodge its authenticity and removing his “hand” from the process. Yet, even in diffusion, a discernable path remains, the many variables connected by their own particular history.

With performances by:

Matthew Burgess, Blake Carrington,

Aram Jibilian, Alden Jones, Pooneh Maghazehe, Joe Pavelka, George Positive, Lior Shvil, Christopher Stackhouse, Skye Steele,

Willie Survive, Zefrey Throwell, Genevieve White, and Hollis Witherspoon.

A Distinguishable Moment Within an
Infinitesimal Increment in a Variable

By Jomar Statkun

December 9th – January 23rd, 2011
@ The Gowanus Studio Space
Brooklyn, NY

So many thanks to:

Deshu He
Yong Fang
Bo Wen
Jianrong Lin
Zhefeng Zhang

Alden Jones
George Positive
Joe Pavelka
Aram Jibilian
Lior Shvil
Hollis Witherspoon
Zefrey Throwell
Christopher Stackhouse
Willie Survive
Genevieve White
Matthew Burgess
Blake Carrington
Skye Steele
Pooneh Maghazehe

(Silkscreens printed with “the great”:)
Jared Friedman

(Video & Photography - so much love to:)
Drea Bernardi
Francesse Maingrette
Nate Pommer

(Great thank you to/not possible without:)
Nadja Frank
Grayson Cox
Philip Cheung
Lior Shvil
Aram Jibilian
Christopher Stackhouse

(The Gowanus Studio Space and Artists)
Ben Cohen
Angela Conant
Maggie Wright
Michelle Levy
Yunmee Kyong

*(Rap during final credits: WILLIE SURVIVE)
- much love sir



Performance - 1st set (PART 1 of 2):

Performance - 1st set (PART 2 of 2):

Performance - 2nd set (PART 1 of 2):

Performance - 2nd set (PART 2 of 2):

Incident No. 49: Jomar Statkun

Portable Viewing of the Chinese Painting 

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$99.00 !!!!
(plus shipping + handling)
(*each painting is made by hand - in this unique edition, slight variations may occur)

The Portable Viewing Station for:  THE CHINESE PAINTING

1.  An original abstract oil on canvas is painted by the artist Jomar Statkun.

2.  A photograph is taken of the abstract painting using an image analyzing program.  The program analyzes the abstract painting and tries to find its image on the internet.

3.  As the program naturally cannot find the exact image of the abstract painting, it proposes similar images based on color, composition, texture, and other visual data.

4. These proposed images are collected along with their accompanying websites.

5.  A selection of the proposed images are then emailed to an oil painting reproduction factory in Xiamen City, Fujian Province, China.  There the proposed images are made into hand painted oil on canvas reproductions.

6.  These oil on canvas reproductions along with the original abstract painting are displayed on a portable viewing station.

7.  The viewing station is taken around the city of Hudson, focusing on a “promotional plan.”  A promotional plan can have a wide range of objectives, including:  sales increases, new product acceptance, creation of brand equity, positioning, competitive retaliations, or creation of a corporate image.

8.  When not mobile The Portable Viewing Station for THE CHINESE PAINTING will be on view in the storefront windows of 348 Warren Street in Hudson, New York at the Incident Report Viewing Station.

9.  For inquiries please email: