Elizabeth Cooper @Thrust Projects 114 Bowerytill July 30th
I think some of the other ones would make nice rugs.... no one brought this up yet: "I think the biggest issue is finding a dealer who believes in your work," said the painter Inka Essenhigh, speaking by phone from her Manhattan studio. She recounted a rocky period from 1998 to 2001, when she moved from the Stux Gallery to Deitch Projects to Mary Boone to 303 Gallery, finally settling in there. "Jeffrey told me he was looking for artists with star qualities," Ms. Essenhigh said of Jeffrey Deitch, one of her former dealers. She compared his gallery to Warhol's Factory. "Jeffrey wanted to be Andy," she said. "He wanted his Edie and Paul America. He wanted me to have a drug problem. He wanted me to create a scene where I went to parties. It was a lukewarm endorsement at best." (Reached by telephone in Greece, Mr. Deitch said, "I'd never be so pretentious to say I modeled myself on Andy, although it's very flattering.")
This may be some of the most interesting abstraction or the most misguided painting going today. The photo doesn’t do justice to the weird qualities of paint that Cooper gets with her almost alchemical commitment to mixing up bizarre concoctions of driers and mediums. I’d like to see what happens to some of these paintings after a few decades of hanging on a wall. Perhaps like the works of Albert Pinkham Ryder they’ll shrivel and wither and become essentially become new works over time. Check it out. Dear cooky blaha, very nice carpets, or cushions for a padded cell.
well Deitch seems to like artist who make spectacles of themselves at their openings, he seems to like a good show...but that's alright, why not have a little circus with your art.His reality show is getting bad reviews though... not enough drama... or art for that matter.That was an interesting article in the ny times about artist(very well ones)moving to galleries for more money and limelight, hey why not, make all you can as fast as you can before your over 40.
i knew there was something special about Deitch openings. that article seemed fishy.
this one reminds me of Nicolas de Stael mixed with Lisa Ruyter and a smidge of Gary Hume maybedid anyone see Yellowman perform at Dietch?when the fuk did that happen?
yeah, but it sums up alot about the whole art market thing... the amount of money some people are making...
is lisa luckovich really worth a million????
make all you can as fast as you can before your over 40. That's when the party really begins....
http://www.deitch.com/events/event_photos.php?slideShowId=265Yellowman live at Hypnogoogia, Deitch Projects 18 Wooster St., January 28, 2006yup we were there, ON the spinning disco stage at Hypnogoogia! i still can't figure out how they wired it.happy new year. ;)
Reminds me of the work Joyce Kim showed a couple of years ago at Priska. That was a really good show. Will have to ckeck these out.
what's interesting to me about this work is the way the seperateness of each color makes a self-conscious attempt to 'illusionify' itself towards the bottom. what i mean is all the colors are flat, and don't mik into each other ever. they stay contained as colors in their own shapes. but their is a movement, a breeze, that seems to pick up the shapes at the bottom, and the way they whirl amongst themselves suggests a mixing, although congregation remains undelivered.
Exciting body of work. I love it.
albino radio you may be on to something. “Illusionify” interesting word. I think Cooper is isolating the gestures of abstract expressionism and sticking them back into painting like someone collecting butterflies. This leaves us to decipher just what those gestures mean to us and what they were used for by the Ab-Exers, a Post-Modernist recontextualizing of painting history.
This reminds me of the sort of thing you get when you pour acrylic paint onto a non-pourous surface, and then peel off the shapes with a razor blade and apply them like vinyl transfers - or maybe thats what I would do, were I working in this manner.Compositionally I find this boring - too flat or not enough pos-neg or too hard edged without any blurring as with the ann craven - i like variation, or varigation, or verification in the form of redundancy, but not redundant redundancy, but rather re-phrasing, so that the overall picture, made up of different phrases, adds up, synergisticly to a new thing, but the same thing, sort of like a hologram or a fractal, but not a fractal, but rather something that mirrors itself, without being a literal mirror.If one concentrates on the blue slpotch in the middle - which becomes the key, for me, to this painting - the wrinkled white above it could beliminated, or changed to enhance the effect. In this case, and in that interpretation, it flattens the painting out, and I wonder if the paitner really has a spatial idea or if it is more just about camouflage - inert.
I agree about the spatial conception being a little bit vapid. it seems like it wants to imply something but doesnt follow through
I have the feeling that I've seen this painting before, except that I forget.
serena, you've seen it in the vitamin P book by someone else, only the someone else did it alot better than this. perhaps that is why the painting seems dead, it is easy to knock off someone elses knock offs and down the line you go - until you get art that nobody really has anything to say about except a classroom critique. Poor painting, i would love to here what the artist of this work has learned to say about it. is this too harsh?
Go see them.
good christmas tree-topper. make that outdoor christmas tree-topper.oops, make that left-over outdoor christmas tree-topper at easter.agreed, poppy. this is co-opted but somehow feels "un-fresh". sell by: 12-4-06
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