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






February 6, 2019

#artistproblems

I've been able to get my painting schedule back and focus on full time work in the studio again. It's been a while. Here's how it's been going. Last week out of sheer frustration I threw my paint brush on the floor while exclaiming, I can't believe I forgot how to paint! A few days later I was feeling like a painter again and actually enjoying myself. Hashtag artist problems. This morning I added a new painting to my website www.samanthapalmeri.com. I'm excited that work for my upcoming show in September at the Catalyst Gallery is finally well on its way.

I've decided to leave the paintbrush on the floor just to remind myself, every day is a new day.


half blurry picture of paintbrush on the floor.
palette table with that little rubber hand I won at a Funky Spunky Literature Night
I'm kinda obsessed with it. 
unfinished newest painting. doesn't have a title yet. oil on canvas, 40 x 40 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 25, 2019

How to: the personification of punctuation

Elizabeth Murray, C-Painting, 1980-81, oil on canvas, 109 x 114 inches

Texting is changing the way we communicate. I've noticed lately that I use an inordinate amount of exclamation points when I'm texting or writing emails.

!!!!


I'm reminded of that Seinfeld episode where Elaine breaks up with her boyfriend for not using exclamation points, and then gets reprimanded at work for using too many!! When her boss reads out loud the sentences where she used them, dramatically emphasizing each word, it's hilarious.

Dramatic emphasis is exactly what exclamation points are intended for. Yourdictionary.com states that:
Exclamation marks were originally called the "note of admiration." They are still, to this day, used to express excitement. They are also used to express surprise, astonishment, or any other such strong emotion. Any exclamatory sentence can be properly followed by an exclamation mark, to add additional emphasis.

Yes, punctuation is used to clarify meaning, however, because of the ineffectual nature of virtual communication, there is a lot of over compensating going on. The mechanisms we use to connect with each other are so detached and removed from real human connection. We're more likely these days to use punctuation to personify way more than a single human assertion. It's like there aren't enough emojis or punctuation marks in the world to completely articulate our thoughts and feelings in a text message.

Every part of texting has become a complicated playing field requiring deciphering skills akin to war time code cracking. Nothing is inconsequential, or goes unnoticed. Every word, letter, image, and punctuation mark, indicates a host of signs and secret or not so secret messages. Even the length of a text message is important. How long it takes you to text back is monumentally important. Taking too long can be perceived as a slap in the face, while texting back the second someone writes to you can either be seen as super reliable-I'm-always-here-for-you, or totally desperate behavior.

With all these underlying assumptions, misinterpretation seems inevitable. Things like ugh, ack or lol can replace whole sentences so you better be sure to use the right one. The use of ALL CAPS or all lowercase has serious emotional implications. I mean, HOW LONG DOES IT TAKE YOU TO DECIDE WHICH EMOJI YOU WANT TO USE? I'll often ask my daughter when I'm writing something if I've used the proper emoji, (which I usually haven't). I'll add extra exclamation points so it looks like I'm making a joke and then she'll say that it wasn't funny to begin with. sigh

I know I don't use punctuation properly at all. Exclamation points personify a whole slew of emotions and thoughts all at the same time for me. I use one ! as a sign that I'm being positive and have a smile on my face. Two !! is very funny. More than a few !!!!! indicates total surprise, which could be positive or negative, or it could mean don't listen to me I don't know what I'm saying, lol. I'm starting to think I must sound like an idiot or come across like I'm trying too hard, but I have this strange notion that I'll look too serious or depressed without them. hmmm.


Maybe you noticed it too.
peut-être l'avez-vous remarqué aussi?

(btw, I was just informed, nobody uses lol anymore. ugh.)




January 3, 2019

Artist of the week Elizabeth Murray

Bowtie, 2000
Everybody Knows, 2007, oil on canvas, 87 1/4 x 93 inches

(the last painting made before the artist died in 2007)


To follow through with some of those unfinished posts I recently mentioned, here is Artist of the week Elizabeth Murray.


Elizabeth Murray's heroic paintings are as fearless as the life she seems to have led. A woman who wanted it all, and achieved it against all the odds; to have her children and family, and her artwork all playing center stage at once. She is a hero and an absolute inspiration. 
The Sun and the Moon, 2005, oil on canvas on wood, 9 feet 
Do the Dance, 2005, oil on canvas on wood, 9 1/2 x 11 feet
Kind of Blue, 2004, oil on canvas on wood, 9 x 11 feet
Midnight Special, 2000, oil on two canvases, 92 7/8 x 129 1/2 inches
Bill Alley, 2006, 3D lithographic construction, 35 x 41 1/4 inches
Hey Madge, 2001-02, oil on canvas on wood, 53 x 48 inches
Worm's Eye, 2002
Cry Baby, 2000, oil on canvas, 105 3/4 x 105 3/4 inches
Path/Door, 2002
Mister Postman, 1998, oil on canvas, 82 x 77 inches
for a better sense of scale: Bop, 2002-03, at MOMA

As always, I try my best to include the correct information for the images I post. In this case I was unable to find full descriptions for a few of the paintings. 

With one exception, these paintings are all from 2000-07. There are so many more layers to her work and it's nice to see the progression throughout the years, but these just screamed EXUBERANCE to me so that's why I chose them. 

Further looking and reading:

Pace Gallery
elizabethmurrayart.org
Art21
Everybody Knows, a PBS film



December 31, 2018

Happy New Year

Sending you a very Happy New Year's greeting! 


Today, New Year's Eve, will be a feast with friends. Boeuf Bourguignonne, chocolate mousse, sparkly decorations, and champagne cocktails like "Ernest Hemingway's Death in the Afternoon".

A good title to lead with: Green, 2018, oil on canvas, 40 x 40 inches


It's been a busy year, so much that I currently have 35 posts in the drafts folder half written and waiting to be finished. But, hey, that's 35 half finished essays I can look forward to completing.

I had a conversation with a friend recently who reminded me that all artists struggle to some degree with an often debilitating balancing act. The times when we are filled to overflowing with great new ideas and motivation are coupled with times when we can't find the energy to get dressed in the morning. We talked about creating deadlines and goals to anchor us throughout the year, and especially the winter months.

So..., I have been stockpiling ideas and materials lately in anticipation of what I'd like to be a busy art making season ahead. I've started a knitting project, a drawing project, and just bought a miter saw and tools to literally cut and paste some wonky stretcher bars together. I've been wanting to do this for years and I am so excited! I mean, I bought a saw! It's totally going to be a good year.

I'm thrilled to announce that I'll be having a solo exhibition of new work at the Catalyst Gallery in September. I am also very pleased to have been asked to be part of a group exhibition, curated by artist and owner of Theo Ganz Studio, Eleni Smolen, celebrating Women's history at the Howland Cultural Center in March.

There is so much more I hope to share with you in the coming months.

Thank you so much for continuing to read and support the ArtWrestler blog..