Posts tagged as:

painting

Molly Crabapple Hands Over The Paintbrush To Her Muses At Postmasters Gallery

by Emily Colucci on September 16, 2016

The relationship between an artist and their muse is one of the most romanticized clichés about art making. Just think of the movie Titanic in which the protagonist, a penniless artist named Jack (Leonardo DiCaprio) draws the wealthy first class passenger Rose (Kate Winslet). If you look beyond the tale of class mobility, the artist/muse relationship is one big power trip. And it is the (male) artist who has control.

Molly Crabapple entirely reshapes this relationship for her current exhibition Annotated Muses at Postmasters Gallery. While not as overtly political as her well-known revolution-focused Shell Game series, the exhibition returns agency to the muse, continuing Crabapple’s drive to break repressive power structures. It also allows for an increased intimacy between the viewer and the usually silent, passive muse.

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Burning Down The House: An Interview With Brandi Twilley On “The Living Room”

by Emily Colucci on August 10, 2016

How accurate are the precious memories of our childhood homes? And what happens when those memories are all that’s left after the home is irreversibly destroyed?

Artist Brandi Twilley attempts to answer these questions through a series of ten paintings in her current solo exhibition The Living Room at Sargent’s Daughters. Her paintings painstakingly document an estimated six year progression of the living room in her childhood home. This spans the room’s water damage and a fire, which burned the house to the ground in 1999 when she was 16-years old.

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This Week’s Must-See Art Events: Spooooky Edition

by Paddy Johnson and Michael Anthony Farley on October 26, 2015

Halloween is here! The art world’s favorite holiday. If you aren’t busy working on a last minute costume, head to American Medium Tuesday night to see AFC’s friend Brenna Murphy and pick up her new book, Domain~Lattice. Wednesday night, go to the New Museum’s insanely fun Halloween party. Then on Thursday, head to Bortolami, where Tom Burr’s installations and photographs serve as a haunted house channeling the ghosts of Chelsea’s gayer, sleazier past. But really, the scariest thing in New York City this week is the NSFW flyer for Nolan Hendrickson’s Halloween, uh, opening at Ramiken Crucible.

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We Went to Regina Rex and 247365 for Representations of Representations

by Michael Anthony Farley Whitney Kimball on September 11, 2015

Wednesday night, we ran around to almost a dozen openings in the Lower East Side. Yesterday, we discussed huge, space-transforming installations. Today, we’re looking at two solo shows where the medium was the message: Henry Gunderson at 247365 and Corey Escoto at Regina Rex.

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Postcolonial Cinema in Oil on Canvas, After Canvas: Meleko Mokgosi at the ICA Boston

by Michael Anthony Farley on July 10, 2015

Meleko Mokgosi’s epic installation of paintings spans a gallery—and a nation’s history. The artist combines vignettes of life in postcolonial Botswana into luscious, cinematic storyboards.

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NADA Trend Watch: Everyone Loves Paintings, No One Is Painting

by Michael Anthony Farley on May 15, 2015

One trend we identified at NADA was the ubiquity of paintings (noun) with a deliberate absence of painting (verb). Perhaps reactionary to provisional painting—and all its polarizing discourse on authorship, ego, and craft—there was nary an identifiable brushstroke on many of the fair’s plentiful canvases. Which isn’t to say that the work didn’t look painterly: paintings are an easy thing to bring to a fair and sell, but it seemed like no one wanted to paint. What we ended up with is a sampling of strategies to mitigate, or negate entirely, the apparent hand of the artist from the process of mark-making.

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We Went to Lisa Cooley and Thierry Goldberg: Good Painting, Bad Painting

by Paddy Johnson and Corinna Kirsch on April 30, 2015

One show we liked. The other, not so much.

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Wednesday Links: Game of Thrones at MoMA (Kinda-Sorta)

by Corinna Kirsch on February 25, 2015

moma

Because I have but two interests, art and Game of Thrones: Last night, while watching artist Phil Collins’s film Tomorrow Is Always Too Long, I noticed that actress Kate Dickie, who plays Lysa Arryn in GoT, also features in the art film. In Dickie’s role as a TV psychic, she gives one of the strangest, most powerful monologues in the film—I highly recommend seeing it. There’s only one more screening at MoMA this week, today. [Cinefilm]
Pee-wee Herman is still very much around to fulfill your childhood dreams, or nightmares. Judd Apatow will produce a new Pee-wee Herman film, Pee-wee’s Big Holiday, a Netflix-only release. Production will begin in three weeks. [Pee-wee.com]
David Geers analyzes contemporary formalist painting, by artists ranging from David Ostrowski to Amy Sillman, as a political exercise and as evidence of ruin. Though the article tries too hard—Geers reads meaning into paintings when the evidence for said meaning—“as sombre explorations of indistinction, they depict collapse rather than perform it materially.” Anyway, read it. I’ll be online all day chatting with you about it on Twitter. [Frieze]
“The Hypocrisy of the Artistic and Critical Left,” a think piece that’s making the rounds, now has an e-flux forum devoted to it. Now you know where to air your frustrations or sing the article’s praises. [e-flux]
Happy National Adjunct Day! Most of your teachers will be at home, looking for other jobs. [Gawker]
It’s a funny-looking dog. [Imgur]
Party held for stolen artworks before they’re shipped back to Italy. Okay, and by party, it’s just a “repatriation ceremony.” [Courthouse News Service]
Dare to break all your brain cells by reading this news article about a one-eared cat with a “talent for art.” She paints with fruit juice “to protect her paws.” [The Telegraph]
Maraschino cherry company serves as a drug front. [New York Post]