Clintel Steed American, b. 1977

Works
  • Clintel Steed, Muse #1, 2022
    Muse #1, 2022
  • Clintel Steed, Muse #10, 2022
    Muse #10, 2022
  • Clintel Steed, Muse #11A, 2022
    Muse #11A, 2022
  • Clintel Steed, Muse #11B, 2022
    Muse #11B, 2022
  • Clintel Steed, Muse #12A, 2022
    Muse #12A, 2022
  • Clintel Steed, Muse #12B, 2022
    Muse #12B, 2022
  • Clintel Steed, Muse #13, 2022
    Muse #13, 2022
  • Clintel Steed, Muse #2, 2022
    Muse #2, 2022
  • Clintel Steed, Muse #3, 2022
    Muse #3, 2022
  • Clintel Steed, Muse #4, 2022
    Muse #4, 2022
  • Clintel Steed, Muse #5, 2022
    Muse #5, 2022
  • Clintel Steed, Muse #6, 2022
    Muse #6, 2022
  • Clintel Steed, Muse #7, 2022
    Muse #7, 2022
  • Clintel Steed, Muse #9, 2022
    Muse #9, 2022
  • Clintel Steed, The Final Piece, 2021
    The Final Piece, 2021
  • Clintel Steed, 2 Hood 1 tongue 1 Hand, 2020
    2 Hood 1 tongue 1 Hand, 2020
  • Clintel Steed, 2 Hoods Kissing, 2020
    2 Hoods Kissing, 2020
  • Clintel Steed, Brain-Gun-Hood, 2020
    Brain-Gun-Hood, 2020
  • Clintel Steed, Covered Mouth, 2020
    Covered Mouth, 2020
  • Clintel Steed, Don't F!!k wit Cube, 2020
    Don't F!!k wit Cube, 2020
  • Clintel Steed, Entanglement, 2020
    Entanglement, 2020
  • Clintel Steed, Entanglement #2, 2020
    Entanglement #2, 2020
  • Clintel Steed, Guns and heads!, 2020
    Guns and heads!, 2020
  • Clintel Steed, Hand and Cotton, 2020
    Hand and Cotton, 2020
  • Clintel Steed, Head in Cotton, 2020
    Head in Cotton, 2020
  • Clintel Steed, Hood and Brain, 2020
    Hood and Brain, 2020
  • Clintel Steed, Hood and Brain on a table, 2020
    Hood and Brain on a table, 2020
  • Clintel Steed, Hood and Red Cross, 2020
    Hood and Red Cross, 2020
  • Clintel Steed, Hood and Rope, 2020
    Hood and Rope, 2020
  • Clintel Steed, Hood Eating Slave hand, 2020
    Hood Eating Slave hand, 2020
  • Clintel Steed, Hood with mouth, 2020
    Hood with mouth, 2020
  • Clintel Steed, Hood with mouth and small lollipop!, 2020
    Hood with mouth and small lollipop!, 2020
  • Clintel Steed, Hood with Snake Form #1, 2020
    Hood with Snake Form #1, 2020
  • Clintel Steed, Hood, Candle, Cotton, 2020
    Hood, Candle, Cotton, 2020
  • Clintel Steed, Please Stop, 2020
    Please Stop, 2020
  • Clintel Steed, Rope = noose?, 2020
    Rope = noose?, 2020
  • Clintel Steed, Tension Between Two Forms, 2020
    Tension Between Two Forms, 2020
  • Clintel Steed, The Covering of Each Others Mouth, 2020
    The Covering of Each Others Mouth, 2020
  • Clintel Steed, The Snake Charmer with Mayan Mask, 2020
    The Snake Charmer with Mayan Mask, 2020
  • Clintel Steed, Untitled, Still Life, 2015
    Untitled, Still Life, 2015
  • Clintel Steed, Untitled (Money), 2010
    Untitled (Money), 2010
Biography

 

Clintel Steed was raised in a devoutly Pentecostal Christian household in Salt Lake City, Utah. At an early age, Steed was heavily influenced by the church, both spiritually and socially. It was his mother’s interest in art and giving him a print of Leonardo’s “Last Supper” that inspired him to paint. When Steed was 17, his high school art teacher invited a painting professor from a local university to speak to the students. Steed was struck by what he heard, and purchased his first oil paints shortly after. He became fixated on the process of making a painting, sometimes cutting school for weeks at a time to stay home and paint. After a year, Steed produced an enormous body of work, for which he was awarded a partial scholarship to The Art Institute of Chicago.

 

After receiving his BFA from The Art Institute of Chicago and then his MFA from Indiana University in 2001, Steed drove to New York City with his easel tied to the top of his car and settled in Harlem, where he continued to take Advanced Studies at the New York Studio School under Graham Nickson. In Harlem, Steed's work focused on Harlem’s street scenes and architecture and his identity as a young African American man at the turn of the 21st century. From 2002 to 2006, Steed explored various themes in his work, sketching city scenes and creating paintings of news headlines by crushing pages and then painting them as landscapes. At this time, Steed also began to paint portraits, working to make his brush marks forceful and fluid and thus embodying a dramatic liquid state.

 

During his time at the New York Studio School, Steed moved to Red Hook, Brooklyn and was approached by Mark Borghi, who signed Steed to a contract for exclusive rights to his work. After finding representation with Mark Borghi, Steed has exhibited extensively throughout the country. He has received numerous awards including the Painting Award at the 181st Annual of the National Academy of Design in 2006, the John Koch Award at the American Academy of Arts and Letters in 2015, and the Artcritical media prize in 2017. He was also the subject of “Mr. Clintel Steed and His Brother” a brief documentary film. Steed continues to live and work in New York City and is an instructor at the New York Studio School.

Exhibitions
Press