Photo: 2021 Marcus Jansen studio Neighborhood on Lincoln Ave. Port Morris, South Bronx, New York.
Marcus Jansen first residency with his Grandfather at 880 Boynton Ave. apartment Bronx New York 1969.
“The American myth needs to be reexamined in the twenty-first century, even rewritten. One of the most important contributions in this regard is being produced by the American Marcus Jansen. With Caribbean and German roots, he is a painter through and through, a painting diagnostician with a gaze as comprehensive as it is incisive. He radically disposes of the early American myth of undeviating progress. His results are disconcerting, and they can be frightening.”
- Prof Dr. Manfred Schneckenburger, Art Critc/ Art Historian and Documenta Kassel, Curator 1977 and 1987 as well as former director of the Kunsthalle Koln and Professor and reactor at the Kunstakademie Muenster.
Marcus Jansen (right) watching street artists in Paris France, 1980
Marcus Jansen with former girlfriend and TRAZ ONE, in front of SHOE piece in Amsterdam tagging 1987.
Private Marcus Jansen and PFC Lawrence Gibson Gulf war 1991
No sunshine here 2005
"disrupted realism" in 2006 (Manekin Pis)
Old Video Footage: Vilseck Germany SGT Jansen with light studies secretly painting in barracks 1997 before discharge and a new career.
Subway 82, 1997 - signed MEPS
Marcus Jansen on Prince Street and Broadway in Lower Manhattan 1999
First cover feature in Los Angeles, 2005 Lifescapes Magazine featuring Jansen's "urban expressionism" nationally.
The swallow's symbol, 30x40."
2007.Permnent Collection: Moscow Museum of Modern Art
“The painter manages to combine the gestural and coloristic freedoms of abstract painting with the literal eloquence and crafts manly precision of naturalistic depictions. Indeed, thanks to the contrapuntal juxtaposition of these two opposing artistic principles, the effects of both the abstract and the objective elements are considerably.”
-Prof Dr. Gottfried Knapp Senior Art Critic at Suddeutsche Zeitung 2017.
Workshop 30x40" 2004
"In the late 1940s, Abstract Expressionism developed as an aesthetically pure style, stripped of the political content of 1930s Depression-era art, memorably dismissed by Arshile Gorky as “Poor art for poor people.” That attitude persisted until a counter-reaction set in a generation later, launching conceptual and postmodern art, informed by a progressive, critical viewpoint. Those of us who agreed with the politics also, unfortunately, had to concede that decoding the sometimes convoluted intellectual puzzles was like taking medicine, and not user-friendly enough for the “masses.”
Combining sociopolitical content with visual pizazz, however, can be done. John Heartfield’s anti-Nazi photomontages; Anselm Kiefer’s mythic war-torn landscapes; the anti-imperialist paintings of Manuel Ocampo; Käthe Kollwitz’s powerful prints about class oppression and struggle; and Sue Coe’s scathing eviscerations of the industrial slaughter of animals are all passionate and compassionate. Marcus Jansen belongs to this humane, humanist tradition."
- Artillery Magazine 2017
Jerome A. Donson, American Vangard Exhibitions, 1961 Europe.
Jerome A. Donson with Marcus Jansen Alliance for the Arts 2004
Marcus Jansen at Studio working on large works 2010
“Marcus is the innovator of Modern Expressionism. What initiated it for him, was the graffiti on the sides of subway trains when he traveled from the Bronx to Manhattan to sell his work on the street. This is somewhat reminiscent of Jackson Pollock learning to kneel with the Hopi Indians and throw sand to make sand pictures. That innovation may have been the beginning of Abstract Expressionism.”
- Jerome A Donson,
Director of the American Vanguard Exhibitions, 1961
Cyber Surveillance on Wasteland, 108x72" 2009
Sketch on paper 2012
Patented Pigs, 48x60", 2008. Permanent Collection: The New Britain Museum of Art
Jansen comments on GMO and Food manufacturing during his wife's struggle with cancer. Sheep with UV, 60x72" 2013.
Jansens's (Yellow) ABSOLUT Blank campaign 2012 by Absolut Vodka
Marcus Jansen's Creeping Obstacle in Kansas on the Cover of New American Paintings, No. 94, 2011
A Painters Allegory Film set with Michaela. Jansen
Sabrina Jansen with Jansen boys Florida
Departure to his "Aerial views" series in 2011, seeing landscapes 3D from an aerial view as he witnessed form his Gul War tour in a Helicopter ride in 1991. (The Overseer) on table top, 2011
Jansen departs from his landscapes and investigates structures of power and anonymity thorough faceless men in suites in 2011.
Faceless #1, 2012.
Permanent Collection: Permm Museum of Contemporary Art, Russia
"Art is the new Founding Father," 108x88" 2015 first Faceless Colonialist subject painted in 2015
Faling Empires, 108x88" 2022 - Colonialist subject on horses
We Must Talk about Race and American ColonialismHayida Sewer is a Ph.D. student in the Africana Studies Department at Brown University.
In 2018, Jansen created new abstract landscapes blending realism with abstraction, crossing real and fiction on paper in a gestural way that were first published in the Hirmer Verlag Publication AFTERMATH in Munich, Germany. Medium: Spray Paint and Oil enamel.
Marcus Jansen DECADE, La Triennale Di Milano, Museum, Italy 2016
"It is with great sadness that we have learned of the death of Prof. Dr. Manfred Schneckenburger, who gave important impulses to world art exhibition documenta in Kassel with twice being involved. documenta 6 (1977)."
Prof Dr Manfred Schneckenburger introducing Jansen's work to Munich 2017 at Kallmann Museum.
Marcus Jansen, Kallmann Musuem , Ismanning Germany 2017