Showing posts with label inspiration. Show all posts
Showing posts with label inspiration. Show all posts

February 22, 2019

NYC ART: 3 MUST-SEE SHOWS

I went to see some gallery shows yesterday, in particular Dana Schutz at Petzel Gallery, Judy Pfaff at Miles McEnery, and Brenda Goodman at Sikkema Jenkins.

Judy Pfaff, detail of Quartet II

Judy Pfaff, Quartet II, 2018, Photographic inspired digital image, steel frame, acrylic, expanded foam, aluminum discs, lightbulbs, wood, melted plastic, Styrofoam. 128.5” x 160” x 60”

Dana Schutz, Trouble and Appearance, 2019, Oil on canvas, 90 x 96 inches

Brenda Goodman, Let the Match Begin, 2017, oil on wood, 60 x 72 inches

Brenda Goodman, Possibility of Age, 2018, oil on wood, Two parts: 80 x 144 inches overall


WOW. These three artists are kicking ass with uncontained, unbridled energy, intention, and material-love. Monsters of color, detail, and form. I saw the shows in that order, Schutz, Pfaff, and Goodman. I left the Dana Schutz exhibition feeling like I should just give it up right now. The work feels so big, and a lot of it is so big. Big and bold and juicy. I imagined my paintings next to hers like little puny specks. Then I walked into Judy Pfaff's show and just started smiling uncontrollably. She is total exuberance! I was still smiling when I got to the Brenda Goodman show. Goodman has been at it for so long, I think of the saying, slow and steady wins the race. She is persistence. The surface details and little unexpected moments everywhere are too marvelous!

These women are laying it all out there. Led by a very personal, intuitive layering of material and meaning. I am so inspired. I feel like I have to go back and soak up some more.

These shows prove that seeing is believing. Visual art NEEDS to be experienced in person. Not one online image I viewed of any of these artworks came even close to what it feels like to be in a room with them.

Both the Dana Schutz and Brenda Goodman exhibitions end tomorrow, so if you haven't been, high tail it over there. Judy Pfaff's exhibit runs through March 9th.


Dana Schutz, Painting in an Earthquake, 2019, Oil on canvas, 94 x 87.75 inches

Brenda Goodman, Bringing it Home, 2018, oil on wood, 16 x 20 inches

Judy Pfaff, Quartet I, 2018, Photographic inspired digital image, wire frame, acrylic, melted plastic, aluminum discs, fungus, paper, glitter, Styrofoam, florescent light. 120.75” x 156” x 32”

Judy Pfaff, detail of Quartet I

Dana Schutz, Washing Monsters, 2018, Oil on canvas, 94 x 87.75 inches

Dana Schutz, Boatman, 2018, Oil on canvas, 88 x 75 inches

Dana Schutz, Smoker, 2018, Bronze, 28 x 30 x 12 inches

Brenda Goodman, Pink, 2018, oil on wood, Two parts: 50 x 72 inches overall

Brenda Goodman, Pushing Through, 2018, oil on wood, 14 x 18 inches

Brenda Goodman, Say It's So, 2018, oil on wood, 12 x 16 inches

Dana Schutz, The Visible World, 2018, Oil on canvas, 108 x 140 inches

Judy Pfaff, Quartet III, 2018, Photographic inspired digital image, acrylic, expanded foam, aluminum discs, Melted plastic, paper, acrylic, melted plastic, Styrofoam, lightbulbs. 121” x 149” x 21”

Judy Pfaff, Installation view

Dana Schutz, Washing Monsters, 2018, Bronze, 44 x 38 x 17 inches

Dana Schutz, detail of Strangers, 2018, Oil on canvas, 88 x 84 inches






January 29, 2019

Kiki Smith, Art Exhibitions, Journal Writing, Inspiration, Vulnerability


from the exhibition Genevieve and the Wolves, Sainte Genevieve, 1999, ink on Nepal paper, 7 feet 8 1/4 inches



Kiki Smith


My Blue Lake, 1995, color photogravure with a la poupée inking and lithograph in colors, 33.7 x 45.8 inches


Sojourn installation image at the Brooklyn Museum, 2010

book cover



I got a great book for Christmas this year, Kiki Smith: Photographs
Published on the occasion of the exhibition I Myself Have Seen It: Photography and Kiki Smith, March 6-August 15, 2010, at the Henry Art Gallery, University of Washington, Seattle. Organized by Elizabeth A. Brown.

I've been following Kiki Smith's work for a long time. I remember one of the first exhibitions I saw of hers in the 1990's of black birds and bent over bodies hanging on the wall and scattered on the gallery floor. The psychological, emotional, and physical relationships she explores: self to nature, nature to animal, animal to human, and so on, mesmerize and enthrall me. She seems to be an artist who is so completely enveloped in her work, consistently working on numerous projects at once, in complete servitude and surrender to her art.

It both inspires and intimidates me. On Christmas Day I wrote in my journal,

Kiki Smith inspiration. I am not an artist/person who lets it all hang out. I am full of fear not vulnerability. I do not photograph myself naked or give myself tattoos. I am not fearless. I am covered. I want to break through like piercing the yolk of a poached egg. I want to completely dissolve and disappear into my absolute. I wonder if this is a thing everyone is even capable of. I'm starting to think this is the thing that makes great artists, and this is the thing I do not have.


Ribs, 1987, terracotta, ink, and thread, 22 x 17 x 10 inches

Silver bird, 2006, ink on Nepal paper with silver gouache, mica, glitter, and graphite, 72 1/4 x 58 1/4 inches

Lilith, 1994, bronze, silicon, and glass

Lilith detail



Fawn, 2000, Etching and aquatint, 22 1/2 x 31 1/4 inches


Daisy Chain, 1992, steel and bronze, chain 100 feet


Untitled (red man), 1991, ink on gampi paper in four parts


Rapture, 2001, bronze, 67 1/4 x 62 x 26 1/2 inches






Touch, 2006, suite of 6 prints, aquatint, etching, and drypoint, 30 x 22 inches


Wolf Girl, 1999, etching and aquatint on paper, 8 x 11 inches




Jewel, 2004, suite of three prints, aquatint and etching, each 14 x 17 inches





Cat, 1999, cast porcelain, 3 x 3 x 3 inches





Kiki Smith


further looking and reading:

Art21

ArtObserved

Shoshana Wayne Gallery




January 21, 2019

Reference images for paintings


I've spent the last week preparing canvases. Cutting, pasting, screwing, priming, etc. I have not decided how to tackle the actual painting part yet. Today I printed some reference photos as a point of departure, a jumping-off point to get me started. 
It is everyday things that I find most interesting. I catch a glimpse of something and imagine a whole world within it and around it. These glimpses can sometimes be very personal parts of me and my day. Mostly they evoke something greater than just color or composition, something I can't really articulate. One day I would like to publish a whole book of my reference photos and collages. 
 
dreadlocks. this color. 


cherry tomatoes from the garden



this is dough.


a dwarf maple tree in my backyard



 


food that's gone bad and ends up in the trash is both an ongoing challenge, and resource for my work.
stemming from my desire to never let anything go to waste and my guilty conscience when it does



spotted this giant ball of rope at a friend's studio



                                                          
clearly I'm obsessed


this is not a staged photo. the dirty dishes were really piled that high 


Some photos are from Instagram and Pinterest. Sorry some image credits are unknown. If I've swiped a photo from you unknowingly, thank you! and let me know so I can give you credit.