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Drawing and Painting Series: 1985 – 2007


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Drawings • 1999 – 2007

…Bailin's anonymous but expressive figures interact directly with the elements, often at some peril to themselves. For all their mystery and even ominous surreality there is an antic spirit to these drawings. In fact, in more than a few of his rough-hewn but detailed charcoals, Bailin sets up man (and woman) as the fall guy for nature's own slapstick brand of humors.

— Peter Frank, LA Weekly, 12/27/2002-1/2/2003

Minyan & Midrash Series • 1991-1999 | Biblical Images • on-going

Bailin's drawings … remain complex and not easily deciphered.…In the end, his works are contemporary: the new context he provides for these psychologically—charged fragments, juxtaposed one against the other, reflects one of the major problems of modern life—the anxieties that arise from the stream of highly-charged emotional situations that arise daily, the desire for the simple life, and the complexity of the questions that arise when one is finally alone.

— Ruth Pasquine • In Search of a Hero • 2004

Early Drawings • 1985 – 1997

Bailin’s paintings are informed and intelligent works of art. Works of art that question the viewer’s knowledge and perception. That question art itself. And, isn’t that exactly what I asked for? […] Bailin’s paintings are heady stuff, powerful and thought-provoking images.

— Cory Dugan • David William Bailin • Number: Spring 1988

Theater and Performance Art: 1977 – 1985


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Proleptic Productions: 1979 – 1984

"Disparate Acts" is an attempt at a form of music theater in which all elements of performance – language, dance, music, gesture, lighting, sets, and space are part of an integrated event, with no element relegated to a secondary or decorative role. The production's structure of abrupt, isolated scenes has been chosen in part to dramatize those unexpected, fleeting moments of sudden realization which occur in daily life.

— John S. Patterson • The Villager • 1979

Performance Art: 1977 – 1979

I moved to New York in the summer of 1976 and I completed a number of large scale paintings dealing with memory, location and material. But I soon came to realize that narrative art in the conceptual 1970s was problematic. As a result I developed several performances that brought my painting ideas into a theatrical space and permitted me to explore in depth image and language. The following performance works were presented during that period at various locations around New York City.

— David Bailin, Theater Promotional Materials • 1978

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