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 upon his professional career. While yet an art student at the University of Washington, he won many prizes at local arts festivals, and was the youngest ever artist to be invited to pretense at the Northwest Art Annual. Considered a precocious talent, Crull united Foster White Gallery, one of Seattle's premier at galleries where he had several exhibitions past graduating university.

From 1976 to 1983 Crull's paintings focused on organic, biomorphic shapes upon white backgrounds, a gestational get older for the performer that expressed in a resolved abstract manner in the same way as impasto similar to surfaces. He allied 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 next 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 become old marked in addition to by public notice success, and national admission 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 ration of the certainly 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 taking into consideration the times Crull was influenced by the Philosophy of Dualism. Upon his recompense 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 additional works were titled, “Relic Series”.

In a 1994 interview upon the artist's ham it up 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 claim of the reality of the individual consciousness within it. In his work, the genuine self remains the last bulwark against an anarchic world."

From 2006 - 2010, Crull made several visits to Shanghai, China, culminating in the first of his subsequent interdisciplinary rouse art works. At the launch 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 law of pianist Shi Wen.^{[citation needed]}