Ted Kincaid
Over the course of two decades, Ted Kincaid has systematically subverted the notion of an objective photographic record. As his art continues to explore the interplay between painting, printmaking, and photography, Kincaid stands among several artists creating a novel painting informed by photo-imagery and a new photography influenced by painting. He has explored this conceptual discourse through multiple series of work, skillfully navigating the boundary between the creation of entirely manufactured images that possess the aesthetic of seemingly straightforward photographic images and actual photographs that vibrate with vibrant palettes almost too fantastical to be considered realistic.
Ted Kincaid has exhibited and garnered significant critical acclaim for his photographically based work. His work has been reviewed in publications such as ARTFORUM, ARTPAPER, and ART ON PAPER, and he is included in the permanent collections of esteemed institutions including the Dallas Museum of Art, the Museum of Fine Arts in Houston, the Museum of Fine Arts in San Antonio, the Neiman Marcus Collection, American Airlines, the Belo Corporation, the Microsoft Corporation, Pfizer, Inc, Reader’s Digest Corporate Collection, the City of Seattle, Washington, the U.S. State Department, and the Human Rights Campaign Headquarters in Washington, DC. Kincaid’s commissions include a substantial floor mosaic for DFW International Airport’s Terminal D and a two-story mammoth canvas that anchors Dallas’ Omni Convention Center Hotel. Kincaid’s first solo museum exhibition, titled “Even If I Lose Everything,” was held at the Georgia Museum of Art in Athens, Georgia, in 2018.
Kincaid’s relationship with Manneken Press is long- his 2001 photogravure monotypes were among the first projects we published. Fuzzy Logic: Prints by Ted Kincaid, 1998 – 2008 is a survey exhibition which can be viewed online at Artsy.