ROD PENNER: PAINTINGS, 1987–2022

Cover of Rod Penner: Paintings, 1987–2022 features Sands Motel & Cafe. A single-story motel building with a red roof appears in an empty dirt lot covered in patches of snow patterned with tire tracks.
A Photorealistic painting of a glass tabletop. A collection of items sits on the table: a vase of dried roses, silverware, a teacup, a photograph, a chicken figurine, a cow figurine, and an orange.
A Photorealistic painting of a house with tin siding is shown at a three-quarters angle. The house has a front porch and a large tree stands in the front yard.
A yellow house is the subject of a Photorealistic painting. The bed of a green pickup truck appears in the foreground. A lawn mower sits in front of a step that leads to the front door.
The entryway of a house appears in a Photorealistic painting. A window with blue shutters is next to a light-blue front door. A rocking horse and a leafy tree are in the front yard.
A Photorealistic painting shows a house with chipped paint. The house has floral curtains, a covered front stoop, and a thin layer of snow on the roof and the front lawn.
Three small, distant cars on an otherwise empty street appear in a Photorealistic painting. The street runs off to the right and a building painted pink with a large open garage door is on the left.
A Photorealistic painting shows an empty intersection. One street stretches down the middle of the scene and a second cuts across it in the foreground.
In the foreground of a Photorealistic painting of a street, a parking lot is edged by a bright yellow curb and a small amount of snow. A blue truck sits on the right side of the lot .
A Photorealistic painting shows a small, empty gas station in Anison, Texas. The deserted scene appears in low light with only the two gas pumps in the middle of the image illuminated by light.
A single-story brown building with a sign that reads “The COW LOT” in Wichita Falls, Texas, appears in a Photorealistic painting. The sign stands freely in the middle of an empty parking lot.
A Photorealistic painting shows an empty gas station. The station sits on the right side of a deserted road and is labeled “J + H STATION” in large letters on the facade. It’s painted white.
A red motel sign appears in a Photorealistic painting. The unlit neon letters on the sign read “YUCCA MOTEL, VACANCY” with a yellow arrow pointing toward the ground below.
A Photorealistic painting of a tiny building with the word “SNOBALL” on a large sign above the door. There is a drive-through window with a second large sign in the shape of a snow cone above it.
Cover of Rod Penner: Paintings, 1987–2022 features Sands Motel & Cafe. A single-story motel building with a red roof appears in an empty dirt lot covered in patches of snow patterned with tire tracks.
A Photorealistic painting of a glass tabletop. A collection of items sits on the table: a vase of dried roses, silverware, a teacup, a photograph, a chicken figurine, a cow figurine, and an orange.
A Photorealistic painting of a house with tin siding is shown at a three-quarters angle. The house has a front porch and a large tree stands in the front yard.
A yellow house is the subject of a Photorealistic painting. The bed of a green pickup truck appears in the foreground. A lawn mower sits in front of a step that leads to the front door.
The entryway of a house appears in a Photorealistic painting. A window with blue shutters is next to a light-blue front door. A rocking horse and a leafy tree are in the front yard.
A Photorealistic painting shows a house with chipped paint. The house has floral curtains, a covered front stoop, and a thin layer of snow on the roof and the front lawn.
Three small, distant cars on an otherwise empty street appear in a Photorealistic painting. The street runs off to the right and a building painted pink with a large open garage door is on the left.
A Photorealistic painting shows an empty intersection. One street stretches down the middle of the scene and a second cuts across it in the foreground.
In the foreground of a Photorealistic painting of a street, a parking lot is edged by a bright yellow curb and a small amount of snow. A blue truck sits on the right side of the lot .
A Photorealistic painting shows a small, empty gas station in Anison, Texas. The deserted scene appears in low light with only the two gas pumps in the middle of the image illuminated by light.
A single-story brown building with a sign that reads “The COW LOT” in Wichita Falls, Texas, appears in a Photorealistic painting. The sign stands freely in the middle of an empty parking lot.
A Photorealistic painting shows an empty gas station. The station sits on the right side of a deserted road and is labeled “J + H STATION” in large letters on the facade. It’s painted white.
A red motel sign appears in a Photorealistic painting. The unlit neon letters on the sign read “YUCCA MOTEL, VACANCY” with a yellow arrow pointing toward the ground below.
A Photorealistic painting of a tiny building with the word “SNOBALL” on a large sign above the door. There is a drive-through window with a second large sign in the shape of a snow cone above it.

ROD PENNER: PAINTINGS, 1987–2022

$65.00

FOREWORD BY: LOUIS MEISEL
ESSAYS BY: DAVID ANFAM AND TERRIE SULTAN

  • First major monograph on contemporary realist artist Rod Penner.

  • The artist’s keen eye combines photojournalism and Photorealism to create images of small-town America.

Hardcover
11 x 12 inches
200 pages + 1 gatefold
268 color plates + 10 black & white illustrations
ISBN: 978-1-7329864-4-2

$65 | £48 | €60

* For orders outside the continental U.S., please contact us directly at: art@artistbkfoundation.org

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The abandoned and forgotten landscapes of rural southwestern towns are the favored subjects of Rod Penner’s paintings. The artist’s keen eye combines photojournalism and Photorealism to create images of small- town America. His deft use of contrasts in his images—despondency and hope, isolation and nostalgia—evokes memories of The Last Picture Show and elicits complex responses from viewers. “I’m interested in the look of things and the quality of being there,” he says. “A moment that is completely frozen with all the variety of textures; rust on poles, crumbling asphalt, light hitting the grass.”

Penner’s works are based on his photographs, digital video stills, and his experience of the rural landscapes of Texas and New Mexico. He depicts desolate, often deserted locations, the character of old houses and abandoned buildings, weather, and unique geography. His chosen scenes are infused with a cinematic quality that is the result of the exquisite light that he captures with his meticulous process. “The finished paintings should evoke contrasting responses of melancholy and warmth, desolation and serenity,” he says.

Penner’s hyperrealistic technique meticulously records both the iconic imagery and the beauty in the ashes of these once-prosperous streets and neighborhoods that still endure. These incredibly poignant scenes evoke a universalism, a collective experience seen through the lens of Americana. “You won’t find any hidden or overt socio-political meaning in my work and at the same time I hope that by utilizing what I find in the American landscape I’m able to connect to viewers on a deeper psychological level.”

David Anfam is a curator, writer, and authority on modern American art. He is the senior consulting curator at the Clyfford Still Museum in Denver, and the director of its Research Center. His publications include Abstract Expressionism (1990), the catalogue raisonné Mark Rothko: Works on Canvas (1998), and studies on Anish Kapoor, Edward Kienholz, and Wayne Thiebaud. Terrie Sultan is an independent curator, cultural consultant, and Principal Museum Strategist for Art Museum Strategies @ Hudson Ferris, a boutique consulting firm based in New York City. She was the director of the Parrish Art Museum in Water Mill, New York, as well as the director of The Blaffer Art Museum at the University of Houston in Texas. Louis Meisel is an American author, art collector, and dealer, as well as a proponent of the Photorealist art movement. He has contributed to four volumes documenting the genre, numerous monographs, and he continues to organize international museum exhibitions for leading Photorealist artists.