Filtering by Category: artists

dorothea tanning

Added on by Jourdan.

I just encountered Dorothea Tanning's soft sculptures in a book I checked out from the library called Surreal Objects. I've been thinking a LOT about surreal objects lately and how my newer assemblage works might somehow fit into that lineage... but more on that later. Dorothea Tanning just recently died earlier this year at the age of 101. She's probably best known for her work as a painter and as the wife of famed surrealist Max Ernst. When I hear the name Dorothea Tanning, this is typically what comes to mind...

Though her paintings are quite incredible - I also really really enjoy her sculptures! Check out her website for LOTS of images and descriptions of works... it's a really great resource.

james rosenquist

Added on by Jourdan.

Industrial Cottage - 1977 - oil on canvas - 80 x 182 in.  - Smithsonian American Art Museum

This painting always catches my eye when I'm in the American Art Museum (home to my favorite modern/contemporary art collection in DC - so humble and smartly curated). The yellow in the far right is MUCH more neon in person. Unfortunately, the rest of Rosenquist's work doesn't do much for me - but I really do love this one!

sarah lucas

Added on by Jourdan.
Sarah Lucas
There's a blue porcelain toilet sitting on the side of the road... I keep passing it on my commute to/from school. I have an odd urge to use it for a sculpture... but it will probably be gone by the time I figure out something to do with it.

stream of consciousness

Added on by Jourdan.

In attempts to enliven/decorate the wall above my desk, I just spent an hour and a half in the Art Dept. office googling artists and printing photos... in a completely stream of consciousness kind of way. Some are linked formally, some conceptually, while others are completely random. Nonetheless, this is the order in which I googled...
Louise Bourgeois
Hans Bellmer
Asger Carlsen
Jake & Dinos Chapman
Spencer Tunick
Henrique Oliveira
Phillip Guston
Rachel De Joode
Jeanne Dunning
John Coplans
Mona Hatoum
Wangechi Mutu
Robert Morris
John Chamberlain
Anish Kapoor
Richard Serra
Ernesto Neto
Rachel Harrison
Franz West
Francois Boucher


Added on by Jourdan.

Opening soon at the University of Maryland's Herman Maril Gallery - an exhibition curated by ME! I am so thrilled to have a chance to exhibit all of this work in the same space. Steve, Lily, and Emily share a really unique way of working with the genre of painting and their work just begs to be shown together. It's going to be an incredible show!

check out my curatorial essay...

To be counter-something, at its simplest, is to be in opposition to something. The term suggests a degree of action taken. When one counters something (an idea, a bet, an offer), he does more than disagree, he responds.

This is an exhibition of paintings. And all three of the artists in this exhibition distinctly identify themselves as painters. Their varied approaches to painting, however, may come across as counter-conventional. When they’re taken off the wall, devoid of recognizable imagery, and at times lacking paint altogether… can we even call such objects paintings? In order to answer such a question, one must be able to define what a painting is at its core, at its roots, which is precisely what each of these artists ventures to do.

Stripped to its bare bones, a painting can be seen as merely a sum of its parts: wooden stretcher bars, raw canvas, and paint. Responding to this notion, artist Lily Kuonen combines these primary materials with tools of the studio, equalizing their purposes in attempts to blur categorical and hierarchical distinctions. She explains, “It is no longer how one material is on top of the other, but rather how each is related to the other.” Through the liberation of her materials, Lily has developed a playful and experimental approach to art making. Her “PLAYNTINGS,” as she calls them, are the result of this process.
 In addition to some apparent formal similarities (such as the exposed raw canvases often situated on the floor), artist Emily Rodia’s approach to painting is similar to Kuonen’s in that she too allows her materials to inter-mingle in unexpected ways. Her paintings are striking in that they rarely include any paint at all. A self-proclaimed “home depot minimalist,” Rodia introduces non-art materials, such as concrete bricks and store-bought plants, to other more traditional painting materials, re-assessing their purposes and combining them to create works that address authorship and the evolution of time.
Artist Stephen Evans speaks for all of the artists in this exhibition when he acknowledges that the most exciting aspect of being a painter is in discovering painting’s potential, it’s possible manifestations, what it can be rather than what it is or is not. The objects and images Evans constructs are more than just inquiries into what it means to make art (though they are that as well). Concerned with both the material and the metaphysical, in each work he also inquires what it means to be human, to exist, and to seek revelation.
Though Evans applies paint to his canvases in a seemingly conventional manner (at least compared to Kuonen and Rodia), the type of paint he uses and the tools with which he applies it don’t come from an art supply store. Paint is rolled onto the canvas as house paint is rolled onto walls of a home. Wallpaper swatches, paint chips, and blue painter’s tape become elements for collage. Interestingly enough, Evans’ combination of traditional and non-traditional materials still refers to painting in some broad sense of the term.

References to building and construction are apparent in each of the chosen artists: Evans’ and Kuonen’s use of bright orange and pink, Rodia’s bricks. They all make efforts to break down the conventional material hierarchy and, through the shared language of painting, use their materials as building blocks for new constructs that explore the subject, the act, and the significance of making.

Sure, this is an exhibition of paintings, but these paintings are more than paintings because they are investigations into painting’s potential. They are “counterconstructs”… counter-convention, counter-tradition, but not rebellious in the least. They are optimistic constructs, responses to artistic inquiry. Counterconstructs: Modes of Painting. 

franz west: hello & goodbye

Added on by Jourdan.

I've somehow been missing the incredible sculptures of Franz West - where have I been?? Someone mentioned his work the other day, in response to the piece I'm working on (and I can certainly see why) - and I didn't think to look him up until just now. And in doing so, I discovered that he died... yesterday. Darn. Well, I love his sculptures... I must learn more about this guy!

the spider, the mistress, and the tangerine

Added on by Jourdan.

 Louise Bourgeois has been on mind a lot lately. Some of the things I'm working on right now are unmistakeably derived from her work (even if unconsciously so). I saw a large installation of her work this winter at DIA Beacon and was blown away. I was literally crawling on the floor to see things from every possible angle. Wow - what a sculptor! It's not easy to find images online that even come close to doing her work justice, but here are a few that I've been looking at...

Yesterday I watched a really nice documentary on Louise Bourgeois called The Spider, the Mistress and the Tangerine. I highly recommend it!

While I was at Elsewhere, I had a Louise Bourgeois moment (hehe). Maybe one day I might come close to being as cool as she is?

hannah wilke

Added on by Jourdan.
Hannah Wilke came up in my crit with Frances Barth this morning. I'm familiar with her later work (the documentation of her body's demise), but not so much with her more formal sculpture. I like very much! must learn more...
artist's hair on paper

hans bellmer => asger carlsen

Added on by Jourdan.
After my first full day at Elsewhere (more on this kooky place soon), I'm starting to think about what I might like to work of during my 4 weeks here. Still not quite certain of where or how I'd like the work to function/live, but I know I want/need to work with mannequins and doll parts in some way shape or form. There are just SO many of them here it's irresistible. I've also got my eye on a box of ratty wigs. I'm thinking some sort of interactive 3-D collage (and by collage I mean sort of similar to the collages I've been doing recently). Hans Bellmer, of whom I am an enormous fan, immediately comes to mind when I think of mannequins turned sculpture... (though I actually prefer his drawings)

  Just now, as I was trolling through Bellmer images, I came across some photo work by Asger Carlsen, and all I can say is WHOA! His photo manipulations are wow wow wow wow...
Interview with Asger Carlsen from Glossom on Vimeo.