Jon Elliott@ 31GRAND31 Grand St.Brooklyn, NY 11211http://www.jonelliottonline.com/
this gallery specializes in noxious,offensive representationalism with a hipster(I guess)twist-this guy I can stand,but would like to actually be frightened of and can't be-a dry fuck-ps how can maureen cavanaugh even be in this art world
you're a brilliant star exu, you should see the show, you might learn something
And Exu specializes in making mean throw away comments. So what if you can't get off to his work. I highly doubt he would want you to. Elliott's work is interesting in NY right now because so many artist are making work about idealized states in nature, he is about how we are ruining it. A real paranoid dude. We all should be.
I like this one a lot. Can't wait to go see the show. From the jpeg, the hyper-real look reminds me of Alexis Rockman (who also has a very interesting show up right now), but with more subtlety. Love the severed tree limbs and drain pipe. Interesting how he manages to let his landscape remain beautiful depsite it's emaciation. Such is the power of nature, which may be the one subject most easily paired with an objective quality of beauty.I think most of the recent paintings of idealized states of nature have the hidden inuendo that we are phucking up said state. Magid, Rockman, Simen Johan, Bas... What's different about this painting is that it chooses to frame this yearning in the negative, showing the ugly side of what is going on rather than the magic/beautiful side that we are missing.
The handsome men of 31GRAND
e a minha opiniao,brangelina-nao tou querendo ser "mean"
HOUSE OF CAMPARI PRESENTS “25 BOLD MOVES” A VISUAL ARTS EXHIBITION HIGHLIGHTING NEW YORK’S MOST TALKED ABOUT EMERGING ARTISTS MAY 5TH - May 21st
Exu- why are you so unhappy? What is it that you do in this world that allows you to feel so entitled to judge these artists so harshly?
I love the apocalypse, so close to my heart. Movies like Soylent Green and Silent Hill,books like No Blade of Grass and Silent Spring.There's a town in India that is so pollusted from recycling CRT's (the copper coil) that people get sick and stuff from the lead in the CRT glass. Awesome!So when I see someone coat their paintings in highly toxic two part epoxy resin, it reminds me of the good old days. (I used a whole gallon of the stuff on a sculpture and I dint add enough catalyst or "kicker" and it wasnt ventilated and I enjoyed that.Remember the seventies? EPA this and EPA that?I do.Which is why I like 31 grand so much. It's a gallery that's not afraid of macrame and tweed, situated in the heart of a polluted urban shithole. Its a gallery that will show folk art to rival the Foxfire series.Adolescent urges indeed!!!!But back to Silent Hill. I saw it. It was terrible. Not because of the ecological horror story of a "mine fire" that decimates a whole Wiccan community (Silent Hill), but because it doesn't follow the video game beyond a superficial knod to a few "cinematics" or "cut scenes" as they are called.I'm a huge fan of first person shooter video games, and Silent Hill is one of the better ones. Its creepy to play (on the PS1 in my case) and the boss levels are reasonably engaging.I saw Resident Evil, which is a better movie, and carries the same ecological disaster theme along the lines of Andromeda Strain(Michael Chriton dudes!).But back to the painting, more trash embedded, less fussyness (I hate motherfucking faberge eggs, let your freak flag fly See the show "Constellation" up on 23rd street - forget the name of the gallery...- and also, play more video games.Its the future.
wod, you compared jon to alexis rockman and comended his addression of 'our' destruction of the environment. for the record mr. rockman drives an SUV...so much for his epic 'manifest destiny' and 10 years of work.
yuchhhhh this is SHIT
good point, I wonder about certain artists who appear to be making activist type art, and if their lifestyles actually live up to the messages in their work. And if not, is that kind of contradiction enough to dismiss them as poseurs? elliot seems to be saying something worth saying, I'm not completely sure what it is, it's a little too fantastical to be a clear statement. Rockman seems to be making pretty clear statments, and I thought this last show is his best work. Didn't know about the SUV though, which is a little disconcerting considering his subject matter. And if elliot is making environmentalist statements, is using the epoxy resin that zipth claims he is enough to dismiss his work? Resins aren't exactly environment friendly. any thoughts?
I don't think you can dismiss an environmentally charged work of art just because an artist drives an SUV. As a painter working in this vein, I think the hope is that you are going to effect culture through your work on a grand scale down the road. Hopefully, your work is going to be part of a shifting of the entire collective thought process of humanity toward a more harmonious way of living. Maybe that's a super idealistic way of looking at it, but that is, I think, the "point". Not that it gives you a free pass to be irresponsible, but making work that might do that is a noble pursuit, regardless of the ways that you live your life. In most cases, you can and should separate the work from the lifestyle of the artist. When history looks back on Rockman, no one is going to care what kind of car he drove. Art takes off on a life of its own after it is made, and informs culture according to the score of history. Sure, it would be nice if all artists drove a hybrid, but it doesn't have anything to do with the art that they make. Afterall, Jane Goodall burned a bit of jet fuel getting out to the mountain gorillas she wanted to save, and Mother Theresa probably ate meat. Maybe Rockman is a bit of a nihilist and has already given up on the idea of man existing in harmony with nature (as his work suggests), but the moral aspects of his paintings are still resonant.
ahh, I was told I had a piece here up for blog-public scrutiny. Thank you to painternyc for including me here. I'm not familiar with blog culture at all, but I do like the idea of public forums. But the real meat of public forums is actually knowing who you're talking to, and being brave enough to talk to others knowing that your public persona, and reputation is important, and that whatever you say will reflect back onto you. pcforcefied...interesting screen name...not that I have any problems with what you've posted, I actually like the question you asked, but "pcforcefield" is the perfect name for an anonymous blogger, because you are hiding behind your pc forcefield, knowing that no matter what you say, it can't come back to you in your public life. And about the resin thing...well, it's not actually resin, it's polymer. Still not so good for the environment. The polymer industry is definitely helping pollute the world. The heavy metals in our paints are also quite bad for the environment, esp. when we roll up our failed canvases, and send them along with our garbage to the landfills. Not that anyone actually throws away their rare, failed paintings, they just hang around, helping clutter our meager storage areas. But I've heard that sometimes paintings do get thrown away, and I've also heard that some people wash the paint out of their brushes in their sinks, and that those heavy metals do find ways into our water systems. Probably rockman does that too, he also probably doesn't vote, and he probably supports the war....I'm just kidding, I don't know alexis rockman at all or what he's all about personally, I just know his paintings, but the fact that he drives an suv isn't enough to dismiss him as a "poseur."-Jon ElliottP.S. just read your post wod, and I agree with you of course. Trying to affect change in your own small way is the point, and it is idealistic. I hope I'm saying things that are important in some ways. If anyone actually sees my show, and wants to actually have a discussion about it in a serious way here on this blog, I'll check this site occasionally, and will respond. -J
Oh no the fourth wall is broken! The end is nigh!.... Just kidding, good to see you here Jon. Thanks for your thoughts.
I am a middle class twit. But I don't admire other middle class twits. I admire people who talk the talk and walk the walk. Who make the committment. People who sit in trees for 3 years. and that is that.
Im in a three walled cabin. Trees, forests. Yeah. For serious.Pseudonymity—anonymity that hides a person behind an online persona via a username—is common online. Many internet users have a number of different identities they use online, to allow them to explore different aspects of their persona, interests or hobbies. But pseudonymity is also the key to membership systems as well, as it allows members of the community to learn to identify other members they like or dislike based upon their behaviors and personality. Pseudononymous systems strike a balance between people’s needs to obscure their identities online, while still allowing them to build reputations in those usernames. These systems have been shown to work very well for an online community.People build reputations in their usernames, and so their reputation becomes something they value and want to protect. Members who have an investment in something within your community are far less likely to blow that investment through inappropriate, negative behavior.Woopdedoo. In real life I'm a ninny, but here in the cyberworld Im a fucking genius.
for the record "globe", i know rockman pretty well, and i am pretty sure he doesn't have a drivers license, much less own an suv.
Jon, I am a LA painter, and wasn't familiar with your work before I saw it on this blog. Can you tell me a little more about your concept, and about how it feels to be labeled a "new rogue?" I'm envious of your new rogue status, as I am neither young enough nor the correct gender to be a rogue. I appreciate the opportunity to have a conversation with you about your work, and to see what you're doing. I like what I've seen on your website, and I wish I could see the work in person. Any LA shows coming up?
I think people must become bloggers just to participate here...kinda cool, props to Painter. I agree with zip. about pseudoanonomynity or whatever...regardless of trolling interests or legitmate concerns, discussion itself is important, not the honor of being legitimate to voice an opinion. People do have to be responsible of what they say, whatever they call themselves, mostly a self measure thing, though. besides, there's an art to posting...boob posts may not be so boobish in the end. you have to be smart and read between the lines, lest you miss somehting *gasp* important. ...so I'm in LA also, and probably won't see the show either...does that mean I can't comment on the work? that sucks. I rather liked it, too. I wish I could be profiled in a major magazine...maybe one day. ahem.
Hi Jon,Thanks for coming on. Congrats on your show.
hello bada and ck,nothing in LA that I know of in the near future. (of course the work can be commented on even if not seen, but a major element of the impact of the work is experiential though, and are not transmitted graphically.) The website images aren't terrible representations, esp. the drawings, but the images of the paintings hardly compare to the live piece. more later, I'll post something more tonight, or tomorrow about ideas I'm working with. thanks for the interest,-Jp.s. it's hard for me to talk about the Esquire experience, it's just too weird right now.
So bada, what would be a good LA gallery for Jon's work? Patrick Painter? William Turner? Michael Kohn? Maybe we can get his work shown here.
Hey Jon... I just read the essay on your website about your current body of work. Its really interesting. I think my favorite thing about your paintings (I too have only seen them online at this point) is the strange mix of death and rebirth that you have in your scenes, the way that the dark water becomes at once a haunted pool of decaying objects and a birth place for something magic. I love the water as well, and the way that you handle it and think about it is really resonating with me. I don't have any questions about your work specifically (your essay really illuminated your work effectively), but I am curious as to what you think about the way art is heading right now in New York in general. Do you see a cohesive movement with all this nature painting? What do you think about it? What other artists are you excited about?
...ck, oh, oh!...I think personally sixspace would be a good place. most definitely... or Track16 of the bergamot bunch...or kantor/feuer...
hi bada, ck, and wod. Responding to wods questions: I think that if these other artists in NY, or anywhere that are working in a similar vein as I are motivated by similar impulses, then they are feeling like it has become important to say things about the roll our culture is playing in the rest of the world. I think a certain amount of anger is involved. I'm not a group-dynamic kind of person, so I'm not really able to participate in activist art collectives like "Billionaires for Bush" for instance, but I really respect their project. There are plenty of artists who make really great, mostly non-critical work that I'm into. But I feel like I'm responding more and more right now to art that is decidedly critical. For instance I liked the David Opdyke show at Roebling, (I think it's still up) and I liked his last show a couple of years ago even better because I thought it cut more to the heart of corporate imperialism. If you look up his show on the roeblinghall.com website, check out the front page, it's the corner of a dollar bill that is made up of toy soldiers and trucks, etc. In his show a couple of years ago, he built a large model of an aircraft carrier, but on the top, instead of fighter jets and the observation decks, it was a mall with a parking lot full of tiny cars. I'm also excited by some overtly fantastcal painters. For instance Daniel Richter and Peter Doig come to mind. They might be my favorite painters right now. I also like David Schnell's landscapes, I don't think he's had an NY show, but I'm pretty sure he's shown in LA at least once. I've only seen his work in person once in a group show called something like "The Leipzig School," at the Mariann Boesky gallery. I do like those Leipzig painters. Again, responding to wod about nature painting: I think there are many people using landscape to talk about the state of the world, many of them photographers too. I like Edward Burtynsky, and Gursky. I think there are a lot of painters out there doing truly enlightened things with landscape, but there are also I react against. I think I get a lot out of the paintings I react against, to some degree. But this post is taking a long time to write for me, must get coffee, and take a break. I'll finish up quick by saying that I am using landscape to talk about ideological conflicts, but more about that later. If any of you have links to websites, or images online, please pass them along. you can email them to firstname.lastname@example.org too if you like. more later,-Jon
Ideology wise, it's the collectors you need to worry about. Not to mention the curators and the art schools.Mother earth, animals and artists are endangered species. THE ONLY WAR THAT MATTERS IS THE WAR AGAINST THE IMAGINATION ALL OTHER WARS ARE SUBSUMED IN IT
some of these paintings remind me of the hand painted photographs from fashion spreads - Pierre and Gilles for instance, although not what I was looking for preciseley-anyways if you know what Im talking about give me some names. Pruitt?
closeup, I think you should cut and paste this into a few other of the comment areanas as well. For instance, I think this should be part of the dialog with the Jacquette piece, since I'm sure she must be dealing with corporate/collector ideologies in her work.
zipth,not sure who these fashion spread photographers might be, I wish I knew though. Besides Pierre et Giles, the only other artist I know of who paints photos and has any kind of visual similarity to my paintings is Sebastian Bremer, with his dots of paint over digitally manipulated photos. Any clue as to which magazines they were in?
Not sure - but yeah, I think theres something to the impulse. I've noticed several artists over the years working into photographs.Fashion mags most recently. But working into photos has a long history -tradition.To me they are like doodles - the initial pleasure of simply marking becomes an impulse to fill in, fill out or complete. Then one starts to look at the pattern, or step back and wonder what it might "mean" or could mean given its parallel development.Look at Al Hansen - he enlisted other people to fill out his patterns. Related to the urge to burn things, or tool use in general.
I like the darker ones with the grid lines on the website better. I do see a lot of D. Richter in these w/o the Munch-ish gestures. And also an LA painter whose name escapes me... he did night scenes of LA... I'd like to see more junk in them like the monitors. Definitely want to see these in person. I like 31 Grand - they're blazing their own trail at least, even if it's not your thing.
thanks burrito, yea, the white painting is the odd one in the show, the rest of them are much darker. If the name ever comes back, I'd really like to know who the LA painter is. Also, I like 31G as well, they have some good people, and they have built a solid reputation.
BB - are they fields of lights on a black background? I like those - Jon would do well to look at those -if anyone knows the name(s) of people doing dots around portraits/fashion photos -the reason I bring it up is that the use of polymer or resin "deadens" the surface where painting over brings it back. Reanimator.
Come to think of it, I've seen stuff like that some in Vice magazine, doodles over fashion photos. I don't remember much about it, but I think I've seen something like it.
I think David Korty is who I'm thinking of - he was with greene naftali here... but he seems to be doing more 'fade to white' stuff now.
The separation between the sky and the water seems to be an important element in these paintings. The "Procession" (my favorite) seems to be marching downward into the water, the televisions and monitors releasing their spectral matter into the air. Using nature as a backdrop for this drama aligns the statements that are made with a sort of ineffable truth, the perpetual truth of the natural world, and also with a very emotionally strong set of principles derived from mythologies based on those natural truths.There is an intrinsic mythic divide between the air and sea, one which has been used for centuries by people to talk about their beliefs in a spiritual sense. Although we don’t actively give much thought to these old beliefs, they are all around us, trickling down to us through the stories and schemas of our culture. I think using landscape as a scenic structure is a great way to align yourself with the spiritual litany when presenting a far reaching idea like this. I would imagine that Jon's ideas about this sort of technological life force could be presented in a number of ways (schematics, writing, comics, whatever), but doing it in the landscape setting allows us to process it through a kind of primal belief system rather than one based on rationality. Circumventing rationality helps lend the works a strong supernatural essence, which I think helps it to effect us more deeply.
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