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Tim Doud graduated from The School of the Art Institute of Chicago with an M.F.A in Painting and Drawing. He also attended the Skowhegan School of Painting and Sculpture in Skowhegan, Maine. Doud has exhibited his work at Hemphill Artworks, Washington, DC Curator's Office, Washington, DC, Galerie Brusberg, Berlin, Germany, Art Basel, Basel, Switzerland, MC Magma, Milan, Italy, Priska Juschka Fine Art, NYC, RAYGUN, Toowoomba, South Queensland, Australia, Mono Practice in Baltimore, MD and the New Bedford Museum of Art. His work has also been included in exhibitions at PS1 (MOMA), NYC, the Corcoran Gallery of Art, Washington, DC, Artists Space, NYC, the Frye Art Gallery, Seattle, WA, the Tacoma Art Museum, Tacoma, WA, Kemper Contemporary Art Museum, Kansas City, MO, and the Smithsonian's National Portrait Gallery, Washington, DC.  He has received grants from the National Endowment for the Arts (Arts Midwest), the Pollock Krasner Art Foundation, and the DC Commission for the Arts and Humanities and has participated in residencies at the Banff Centre, Alberta, Canada, the Sharpe/ Walentas Studio Program, NYC and the Golden Foundation, New Berlin, NY.  Commissions include the State Department’s Art in Embassies Program, in Niamey, Niger, Africa.  


Co-Founder of STABLE, Washington, DC + the 'sindikit project, Baltimore, MD


Co-editor, Out of Place: Artists, Pedagogy and Purpose published by Punctum Books, 2021

Tim Doud is Represented by Hemphill Artworks, Washington, DC


Artist Statement

The craft of making interests me, as well as the final legibility and look of the made object. 


Historically I am a portraitist, and while the 'subject' of portraiture seems at first the major focus, I am at least as interested in how portraiture --and other painting genres, particularly abstraction -- function as practice and cultural signifiers. When I begin a new series of works -- figurative, or abstract -- I establish perimeters -- rules and obstacles governing the craft and development of the work. 


The cultural referentiality and legibility of a work is key, and often simply assumed by viewers. Depending on the series, and cultural or commodity referent that I am establishing,


I overlay abstract patterns, textures and shapes that signal or operate as signs in some cultural system of representation.  Referents emerge from a variety of sources, and these sources are often not recognized, or not clearly seen. They are then situated into a new context -- conflated and then expanded sometimes beyond recognition as they background, literally becoming the ground of the work.


Referents also act as the figure (the top surface of the painting) in the abstract paintings; these often reflect, obliquely, the shape of something that is culturally valued. 

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