Ford Crull

Ford Crull (born June 6, 1954) is an American neo-symbolist abstract artist. Crull was born in Boston, MA, but lived in Seattle until 1976, after which he moved to Los Angeles to embark on his professional career. While nevertheless an art student at the University of Washington, he won many prizes at local arts festivals, and was the youngest ever player to be invited to comport yourself at the Northwest Art Annual. Considered a precocious talent, Crull joined Foster White Gallery, one of Seattle's premier at galleries where he had several exhibitions since graduating university.

From 1976 to 1983 Crull's paintings focused upon organic, biomorphic shapes upon white backgrounds, a gestational grow old for the artiste that expressed in a utter abstract manner next impasto in the impression of surfaces. He joined the Stella Polaris Gallery in 1983, where he met art critic and writer Edward Goldman, and host of KCRW's “Art Talk.” Goldman championed Crull's works, which were acquired by corporate art collections, and was along with instrumental in Crull's first significant non-gallery show at the USC Fisher Museum of Art (then, the Fisher Gallery) at the University of Southern California.

In 1983 Crull relocated to New York City, and became a seminal figure in the East Village art scene. He was discovered by Colin de Land, founder of Vox Populi, and the Armory Art Show. Crull had several shows at the Vox Populi, a grow old marked plus by billboard success, and national greeting for the artist. Crull's works were acquired by the Metropolitan Museum of Art, the Brooklyn Museum, the National Gallery of Art, and the Dayton Art Institute.

In 1989, Crull was part of the agreed first showing of American artists in the USSR, Painting Beyond the Death of Painting at the Kuznetsky Most Exhibition Hall in Moscow curated by American art critic and historian, Donald Kuspit. This coincided subsequently the epoch Crull was influenced by the Philosophy of Dualism. Upon his compensation from Russia, Crull began using steel framing for his paintings, with the edges burned. It was an invention that came to him after seeing the ancient icons in Russia. The extra works were titled, “Relic Series”.

In a 1994 interview on the artist's produce a result at Howard Scott Gallery in NYC noted art critic Eleanor Heartney stated,"The key to Crull’s vision is his simultaneous hug of the uncertainties of the contemporary world and his affirmation of the reality of the individual consciousness within it. In his work, the legitimate self remains the last bulwark next to an anarchic world."

From 2006 - 2010, Crull made several visits to Shanghai, China, culminating in the first of his subsequent interdisciplinary breathing art works. At the establishment of the Bund 1919 art bank, a cultural and art enclave developed from five 1919 buildings at Shanghai No. 8 Cotton and Textile Factory, Crull executed a public art project to a live show of pianist Shi Wen.^{[citation needed]}