Markus Linnenbrink


MARKUS LINNENBRINK / Installation view June 2017 exhibition

Markus Linnenbrink / INVISIBLEACCIDENTS / 2018 / epoxy resin on wood / 24 x 24 inches

Markus LinnenbrinkIWALKIWANTIWAS / 2018 / epoxy resin on wood / 24 x 24 inches

Markus LinnenbrinkZEIGEFINGERZAUBERWORT / 2017/ epoxy resin / 14 x 14 inches

Markus Linnenbrink / WANTTHEWORLDTOKNOW / 2018 / epoxy resin on wood / 24 x 36 inches

MARKUS LINNENBRINK / Installation view June 2017 exhibition

MARKUS LINNENBRINKLOSTSOMEBODYMOVINGBACKWARDS 2017 / epoxy resin on wood panel / 48 x 96 inches  (123.84 cm x 247.68 cm)

Markus Linnenbrink / KEEPYOURMOUTHSHUT / 2012 / epoxy resin on panel / 12 x 10 inches

MARKUS LINNENBRINK / ISOMETIMESDOTHEDISHES / 2015 / epoxy resin on wood panel / 48 x 48 inches  (123.84 cm x 123.84 cm)

Markus Linnenbrink / Gensler New York installation

Markus Linnenbrink/ View of  Floor One of an Eight floor, 42 foot, wall painting installation at Morrison Foerster, NY


Collaboration between Markus Linnenbrink and architect Nick Gelpi / Stools / 15 x 18 x 15 inches

Nick Gelpi is the Design Principal and Founder of GELPI Projects, a collaborative design firm in Miami Beach, Florida. He is currently an assistant professor of architecture at Florida International University. Gelpi’s work is dedicated to examining the relationships between materiality and building concepts. GELPI Projects’ cultivates a design practice that explores buildings in the city, spatial installations, furniture, material experiments and mockups, by examining architectural thinking across diverse scales.

Gelpi’s proposal The Wynwood Greenhouse was recently named first place winner in the 2014 international design competition for Wynwood Gateway Park in Miami Florida. The influential website CURBED awarded Nick Gelpi a Curbed National Young Guns Award in 2014, naming him one of the top ten young designers in the U.S., across all design fields. In 2013 he was awarded first place for Table Distortions, an eighteen foot digitally fabricated table, on view at the Wolfsonian Museum in Miami Beach; and in 2007 he was awarded an R&D Award, by ARCHITECT Magazine for his work with Steven Holl on the Riddled Furniture series. This year Gelpi received an AIA Honor Award of Excellence from the AIA Miami chapter, for his built pavilion, titled “HOUSE PAINT,” a design collaboration with German artist Markus Linnenbrink.

Born in New Orleans in 1979, Nick Gelpi received his Bachelor’s of Architecture degree from Tulane University, and his Masters of Science in Advanced Architecture Design from Columbia University in 2003. Gelpi joined the offices of Steven Holl Architects in New York, where he worked from 2004-2009 as a project architect leading numerous projects including the 11.2 million square foot master-plan for the Hudson Yards in Manhattan. In 2007 Nick Gelpi along with Steven Holl were the recipients of ARCHITECT Magazine’s first R&D Award for their innovative application of Laminate Wood as a series of commercially available furniture. Nick Gelpi taught architecture at The Massachusetts Institute of Technology; Ohio State University where he held the Howard E. LeFevre Emerging Practitioner Fellow in 2009; at Columbia University’s Graduate School of Architecture Planning and Preservation, and currently, an Assistant Professor of Architecture at Florida International University in Miami Florida.

Installation view of commissioned 7 x 90 foot resin painting in the concourse lobby at 75 Rockefeller Center, New York, NY



Markus Linnenbrink / Pennsylvania Academy of the Fine Arts permanent installation in Lobby Entrance / A time-lapse video of Markus Linnenbrink painting the installation THERIDENEVERENDS. The painting was completed over the course of seven days in June, 2014.


MARKUS LINNENBRINK, b. 1954 in Germany

At once inventive and masterful, Markus Linnenbrink’s paintings are described as both performative and extreme. Linnenbrink pours and pools resin with cumulative layers of opaque and translucent pigments, building the dramatic physicality of his objects. Using a medium with short-lived malleability, his early epoxy paintings relied on the interplay between liquidity and gravitational pull; while later surface derivations were devised with mechanical assistance, forming concentric depressions, then incised channels. Linnenbrink’s creative vocabulary was described by David Pagel, art critic for the Los Angeles Times, in an essay, Gestural Abstraction in the Information Age: “Linnenbrink paints himself out of the picture. His paintings fly in the face of the idea that art is all about self-expression… Hands-off detachment, unsentimental experimentation, and quasi-scientific exploration play potent roles in his complex compositions, whose surfaces take painting to extremes, both sculpturally and coloristically.”

For three decades Linnenbrink’s inventive methodology has driven with intuitive intentionality – not with an eye to distract, but with the alchemist’s quest for transformation. There’s no question that viewing a Linnenbrink painting is the stuff of ponderous pleasure, but it also transports beyond the constraints of what ‘is’ to what ‘isn’t’. Pagel comments, “After a few generations of art made by artists who seem to believe that the pursuit of knowledge and that of pleasure follow paths that go in opposite directions, it’s refreshing to come across Linnenbrink’s works, which, in their multi-directional ambidexterity, both insist and demonstrate that physical pleasure and intellectual stimulation work in concert, enhancing and amplifying each other’s best features while fueling the fires of a viewer’s experiences.”

Markus Linnenbrink garnered attention in the U.S. and Europe with wall paintings at the UCLA Hammer Museum, the Aldrich Contemporary Art Museum, the Kunstmuseum in Bonn, and Museum Haus Esters, Krefeld. Recent significant commissions are 75 Rockefeller Center, New York with a 7-by-90-foot painting installed in their public concourse lobby; and Morrison & Foerster, New York installation of eight, 9-by-42 foot wall paintings, one on each of their eight floors; and Jorge M. Pérez SLS Brickell 40,000 sq. ft. wall painting, Miami, Florida. Over 50 works are in public collections, which include the San Francisco Museum of Modern Art; UCLA Hammer Museum; The Hague Ministry of Education, Culture and Science, the Netherlands; Neue Galerie, Kassel; Pennsylvania Academy of Fine Arts, Philadelphia; Museum Katharinenhof, Kranenburg; Kunsthalle Recklinghausen; Herzliya Museum of Contemporary Art, Israel; Clemens Sels Museum, Neuss; and 75 Rockefeller Center, NY.


December 20, 2017
Abstract Room
June 15, 2017
Square Cylinder
March 20, 2017
Wall Street International
August 10, 2010
The New York Times
February 23, 2010
Art in America
September 6, 2007
San Francisco Chronicle
September 1, 2007
San Francisco Bay Guardian
July 9, 2002
Art in America
May 26, 2001
San Francisco Chronicle
Press Continued