Dannielle Tegeder @Priska C. Juschka Fine Art547 West 27th StreetNew York, NY 10001
glad she got rid of those underground system paintings, these are problematic but more interesting because of their awkardness and unresolve. her work doesnt look like grad school anymore, while the other stuff did. they are actually bad paintings, and kind of cheesy abstraction, faux constructivist. but somehow i like dont know why.
Although I'm not familiar with this painter (and have no idea right now what I like) this looks like one of those "phase" pieces: the artist is trying out a phase of their work on the way to a more personal statement. From here, I would expect a simplifying move, maybe fairly quickly with the faux-structured-reality to give way to something more related to the actual surface of the painting. Something more inward-looking. (Or, maybe I'm just projecting again...)
well i think you are right mostly.....cross....but i do believe a majority of what you said is projecting.....often images like these ring hollow....but people are different and what is hollow to one person is not to others.....a computer run image turned to painting....i think...but interesting for this style because for a majority of these types of work the color is often, not always, in the neo geo realm....chris finley in L.A. is good at this way of painting...
chris finley in L.A. is good at this way of paintingDefinately.
At the opening half the gallery space was roped off, perhaps due to glass sculptures.What looked to be the strongest painting was segregated from viewing 10 feet away.Paintings were propped on the floor tilted at odd angles, mirroring glass sculptures in obvious "do you get it?" ways. Sometimes elegant hard-edged compositions were more workman-like than lucid. Post-academic seriousness pervades as committment issues arise: Are these to be viewed as paintings in themselves or props in an installation?Not quite either, however ambitous.
i question the move to sculpture as well, seems like pseudo intellectualism, trying too hard to be relevant, show was a puzzlement, confusing, and the paintings bad abstraction period.
I admit to findig these paintings a little dry, somehow, despite their fantastical titles. . . I want to like, but cannot.
static,kind of corporate decoration
It is a very coherent jump from the previous work. I think very few artists can make this kind of jump in their work. There is certainly something video-gamy about it, but it is nothing like those bland references that everyone usually makes. This is much more informed, like a 1980s futurism-meets a post-constructivist world, but unusually authentic. I did not find it staged at all. I like the hidden references to the Cabinet of Dr. Caligari architecture - i don't know if anyone else saw that- and someone pointed to me the references to El Lissitsky's Kabinet des Abstrakten, or whatever it was that place that he designed in the 1920s.Personally, I thought it was one of the strongest shows i have seen in chelsea for a long time. I loved the idea of propping the canvas against the wall. I am sure everyone is going to be doing that for months to come.
i saw the caligari references too - liked the connections between this installation methodology and the suggestion of set design. as for the new direction in work - these felt deconstructed - lighter - aeronautical? suspended? strong elements of lens and view, to be sure - maybe harder to relate if you're not familiar with film.
It reminds me of Kandinsky and the Suprematism movement.
Looks like an collage of a nth dimensional nilla envelope.Vertigo rocks. Crystal Palace was allways a challenge for me. Zaxxon too. The depth cues are a little weird.If you can set up some yarn like Fred Sandback or something and then put it next to a viper lined infinite pit, you'd have your game on because you would fool people into thinking a plane separated them from the pit, when in fact it was just an illusion, and the painting of the pit - 1 point perspective - could conceal real spikes. I could intall it at your home, gratis, but you have to have at least 240,000 square feet of exhibition space. Let me know.
“Nothing is real except sensation . . . the sensation of non-objectivity.”these make to much "sense", i can see the formal alignment with suprematism, however like alot of the questions of supremtist were tied to the politics of the 1915 - this is coming off more as the 'look of Art'. however, i am not that familar with this Artist i may be missing something. i can see there visual appeal. Artist Talk:Wednesday, May 24, 6.30 PM
I think this artist's work has always been visually interesting including the new work posted. I personally feel the older work, the underground inspired abstraction was more original. I would have liked to have seen her push those visuals and ideas further. This currect work seems to reflect too much of the constructivist school for my taste. It seems like an unoriginal step backward. I however must say that I have not seen the show as of yet.
Since a couple of posts have mentioned it, anybody have a link to the artist's earlier "underground abstraction"?tks.
http://www.priskajuschkafineart.com/artists/Dannielle_Tegeder/artwork/for the last few exhibitions
anybody see the phil frost show?http://www.jackshainman.com/dynamic/gallery1_exhibit.aspany thoughts? looks pretty good to me. lovin that oceanic influence --the totem pole -even if he's basically a decorator of skateboards, and psychotically repetitive, I'm still likinit.
Dannielle Tegeder I think is interesting. The sculptures seem like they are dealing with a known space trying to escape a formal reading to some success. A sculpture space and a painting space is different in that you can walk around the real while painting you have to use the imagined to walk to scoot. This way a painting is harder to create the round due to the fact that you are dealing with a flat surface. In a painting for it to be successful when it starts dealing with planes on one plane the best end is a gestalt that throws a logic into a spin drawing a inquisitive eye/mind to the spatial clameture.>aside< Hope A and E are talking!
closeup - http://www.jackshainman.com/dynamic/gallery1_exhibit.aspI did see. Looks better on the site. Thought they wanted to go whole hog but stopped short of the tiki hut. Why not? Fuck em if they cant take a joke. The works not bad -not just "kitch" - hard to pull off without doing the Urban Outfitter/Pier One colonial dance.A little too designey but then fake antiquing isnt the way - like crackel finish frames or something can go kitch. Wall pieces more successfull than the floor pieces? Sometimes the devil likes to drive you from the neighborhood.He'll even work his ways through those whose intentions are good.Some like to worship on the moon, others are worshipping the sunAnd there ain't no man righteous, no not one.
Which is to say, design is fine, but I was looking at some vans the other day - "dream" skulls and circles:hereand its a classic case of variation of shapes and stuff.Composition. Well at some point composition becomes what? An exercise? A ritual?
again, I agree with N.W.M.-Even her old work had the 'look of art'. Without pushing the form to a new area or saying something personal. The easy transition of styles only makes it more obvious that she doesn't have much original to say. She's a skilled craftsperson.
shes very skilled and very driven, the work still feels empty and impersonal.
i will be the demise of this website die painting
so long cam'ron
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