His bio's omission of educational information suggests he has no formal education. This definitely reminds me of Dana Schutz and Amy Sillman but it looks dated to me. Very mid 90's and dare I say it, late 80's. I also see some earlier Christian Schumann here. It's a little too cartoony and cute for my taste. Way too cute. Everything including grandma's slippers are in these paintings. The other work didn't impress me at all.
i don't buy into this totamic animal bs... http://query.nytimes.com/gst/fullpage.html?res=9C03E1DA103EF931A25750C0A9629C8B63 animal ny times bs, reads as a strech for content sometimes bad is bad
Wilfredo Lam does Oscar the Grouch. He likes faces. It's like a telephone doodle. No judgment, but much of this is colored drawing, not really painting. It's juvenile male imagery. I can't tell what that big shell-like shape on the left is. There's a narrative, like Ensor- there's the big Grouch face in the middle, and then repeated leading a procession in the lower right. The drummer on the left keeps the beat. Abandoned figures living in a junk yard, in nowhereland. Gathering energy, something's about to break open. I get the impulses, and it's OK. He's using all his drawing faculties; he knows how to draw but is ham-fisted, deliberate only in that he is conscious of working up to the edge of his ability. That's a pretty common thing these days. That's what I get from a lousy jpeg on a monitor.
He can work wonders with a ball point pen. When I was in school and bored in class I would wish I could make something better than my doddles with my pen and paper. He has that ablity to make something out of nothing.
If he has no formal education I don't thing that is really worth mentioning. His work doesn't suggest schooling or not.
You know the background type imagery is a genre - just as say, Barry McGee falls into an established genre -
a quick google and you could make a whole lot of associations. I don't know if thats bad - there are a lot of painters out there. But this has nothing to raise it above the mass, stylisticly.
AND WHAT ELSE IS THERE?
Hyperventilate and say all these names in one sentence:
Gina Tripplet, Margaret Kilgallen, Camille Rose Garcia, Barry McGee, Mark Ryden, Sean Landers, George Condo, Aubrey Beardsley, Mucha, Maxfield Parish, Frank Frazetta, Big Daddy Roth, Frank Kozik, Robert Krumb, Raymond Pettibon....
It's funny how Sean Landers still incurs the purists wrath. How 2Oth Century! His role is the lovable looser, a trap he sets for himself and the dogmatists who would judge him. And yet, the Devil-Pig is somehow rescued by it's own sophisticated rendering. Beautiful. It helps to have a sense of humor too. Good for Landers confounding expectation for so many years, a much greater achievement than conventional wisdom would ever grant. Like it or not, his status is well-earned.
But Barry innovated his genre. You guys didnt see it til 10-15 yrs down the road. (see the west coast 1978 "Bad Painting" show ref too)
George Condo's genius is in how he references art history so far back and with such strong skills. Then he shoots up to the kitsch of Mad magazine, etc. Most of the Juxtapoze crowd doesnt go back past 20th century. Which is OK, but just not such a thrill ride.
Too much Stuff. Some really lovely rendering of light and form in the trash can and whatever-it-is on the left side, but I didn't even see it at first because of all the Stuff. The composition feels unconsidered to the point of annoyingness, or perhaps just immature. Of course I'm projecting, because a lot of my student paintings looked a lot like this.
11 comments:
Bill Adams
KSArt
73 Leonard Street
New York, NY 10013
His bio's omission of educational information suggests he has no formal education. This definitely reminds me of Dana Schutz and Amy Sillman but it looks dated to me. Very mid 90's and dare I say it, late 80's. I also see some earlier Christian Schumann here. It's a little too cartoony and cute for my taste. Way too cute. Everything including grandma's slippers are in these paintings. The other work didn't impress me at all.
i don't buy into this totamic animal bs... http://query.nytimes.com/gst/fullpage.html?res=9C03E1DA103EF931A25750C0A9629C8B63
animal ny times bs, reads as a strech for content sometimes bad is bad
For v.b.
This ain't nowhere near Schutz or Sillman. Schumann a little.
Try broadening your range of references.
This painting blantantly riffs on Arshille Gorky, Roberto Matta, Yves Tanguy, Sesame Street, and Albert Oehlen gets thrown in to blow the dust off.
Nice eyes.
Wilfredo Lam does Oscar the Grouch. He likes faces. It's like a telephone doodle. No judgment, but much of this is colored drawing, not really painting. It's juvenile male imagery. I can't tell what that big shell-like shape on the left is. There's a narrative, like Ensor- there's the big Grouch face in the middle, and then repeated leading a procession in the lower right. The drummer on the left keeps the beat. Abandoned figures living in a junk yard, in nowhereland. Gathering energy, something's about to break open. I get the impulses, and it's OK. He's using all his drawing faculties; he knows how to draw but is ham-fisted, deliberate only in that he is conscious of working up to the edge of his ability. That's a pretty common thing these days. That's what I get from a lousy jpeg on a monitor.
He can work wonders with a ball point pen. When I was in school and bored in class I would wish I could make something better than my doddles with my pen and paper. He has that ablity to make something out of nothing.
If he has no formal education I don't thing that is really worth mentioning. His work doesn't suggest schooling or not.
This is not a good monster.
You know the background type imagery is a genre - just as say, Barry McGee falls into an established genre -
a quick google and you could make a whole lot of associations. I don't know if thats bad - there are a lot of painters out there. But this has nothing to raise it above the mass, stylisticly.
AND WHAT ELSE IS THERE?
Hyperventilate and say all these names in one sentence:
Gina Tripplet, Margaret Kilgallen, Camille Rose Garcia, Barry McGee, Mark Ryden, Sean Landers, George Condo, Aubrey Beardsley, Mucha, Maxfield Parish, Frank Frazetta, Big Daddy Roth, Frank Kozik, Robert Krumb, Raymond Pettibon....
It is post 9-11 after all.
Anyone see flight 93? What a piece of shit.
It's funny how Sean Landers still incurs the purists wrath. How 2Oth Century!
His role is the lovable looser, a trap he sets for himself and the dogmatists who
would judge him. And yet, the Devil-Pig is somehow rescued by it's own sophisticated
rendering. Beautiful. It helps to have a sense of humor too. Good for Landers confounding
expectation for so many years, a much greater achievement than conventional wisdom would
ever grant. Like it or not, his status is well-earned.
But Barry innovated his genre. You guys didnt see it til 10-15 yrs down the road. (see the west coast 1978 "Bad Painting" show ref too)
George Condo's genius is in how he references art history so far back and with such strong skills. Then he shoots up to the kitsch of Mad magazine, etc. Most of the Juxtapoze crowd doesnt go back past 20th century. Which is OK, but just not such a thrill ride.
Too much Stuff. Some really lovely rendering of light and form in the trash can and whatever-it-is on the left side, but I didn't even see it at first because of all the Stuff. The composition feels unconsidered to the point of annoyingness, or perhaps just immature. Of course I'm projecting, because a lot of my student paintings looked a lot like this.
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