zzzzzzzzzzzzzzzzzzzzzzzzzzzzzzzzzzzzzzzzzzzzzzzzzzz....please someone wake me up because Im falling asleep...first world people with first world problems make for really boring art
ad3pt, - have you ever been raped? i can relate - it is as valid subject matter You can not judge someone's "problems" on a relative global level. Art is personal. And besides when did Sue Williams play a victum card? Your comment reminds me of when i got out of school and despite working my ass off was not making bills. I was doing a web site for this (i assume by the work and location) weathy dealer. Getting paid was always a problem - when i finally broke down about it he gave me the 'you don't know poverty, go to africa and then tell me about poverty'. I still see it as a way to side step an issue and gain psychological control.
the palate turns me off. it is difficult subject matter due to its car accident like appeal, - Violence, Rape And Murder. story old as time. commercialism controls and shills our animal nature back to us.
There was a weird sense of the comical in the earlier work -- I remember in college seeing a painting of orifices stuffed in every way possible and it was funny and clever because of the way it was painted. Later that year, I saw a manga film with a similar image, but done in a different tone... more horriying and sexy yet less comical (for manga(?))
It was then I realized that there was a wide range of exploration to be had on the subject of orifice-stuffing. It might've beeen a decade ago, and it was by a Sue. I think it was Williams, though I may be mistaken. The difference between the two Sues lay of course in attitude, I feel... One ponders and one implicates. I remember noting in the 90's, the blackness of Coe's work... The indulgent use of ivory black paint, that is...
The rest of Coe was agitprop to me -- but then there was the image of Coe's pooltable -- which has burned a mark in my head -- until I saw ross and pheobe on a pool table on tv -- and then all was ok again; a thought which then relegated Coe's work to the piles of agitprop I recieved daily in the mail.
The mark of this Sue seems to have been a mark of a somewhat playful figure, amongst the playground of the corrupt and transgressive. I always thought of Richard Prince when i viewed this Sue (but maybe it was from the association of having to read a lot of text. ...)
As for her later work -- the paintings must be a releif!
before i was likein it a bit, thinkin about how working out your "past" trama thru fixation and restageing can be healing, - or there is a festishy pleasure in them...
I like her raw work better than the pretty abstracts she has been making as of late... and I heard her give a lecture on the new stuff, and she did not even address the content, just talked about the move to abstraction. Self preservation, I suppose.... no one likes "downer" art, no matter how real, effective, and visceral it is.
14 comments:
(top)It's a New Age, 1992
Acrylic and oil on canvas
64 x 54 inches
(bottom) Pink and Blue, 2003
Oil and acrylic on canvas
40 x 48 inches
who can get enough of anal or oral sodomy really. every hear the phrase "it's not rape if i give you a blow job in the morning?"
I'm a fan. When I close my eyes at night, I see the same images. The same rhythm beats in my ears all daY.
One makes lot of compromises to survive, and the second painting follows the first, expressing that very progression, beautifully.
zzzzzzzzzzzzzzzzzzzzzzzzzzzzzzzzzzzzzzzzzzzzzzzzzzz....please someone wake me up because Im falling asleep...first world people with first world problems make for really boring art
These would go great over my Mies Van Der Rohe "Day Bed".
ad3pt, - have you ever been raped? i can relate - it is as valid subject matter You can not judge someone's "problems" on a relative global level. Art is personal. And besides when did Sue Williams play a victum card?
Your comment reminds me of when i got out of school and despite working my ass off was not making bills. I was doing a web site for this (i assume by the work and location) weathy dealer. Getting paid was always a problem - when i finally broke down about it he gave me the 'you don't know poverty, go to africa and then tell me about poverty'. I still see it as a way to side step an issue and gain psychological control.
If you are going to play the victim card you should play with a full deck. Just saying.
case in point - lady walks into the bar complains about the dirt in NYC, says Staten Island is cleaner. Bartender says there's dirt wherever you go.
You can argue for heavy metals, carcinopgens, stuff with a half life of a million plus years....processed cheeses.
If I made this painting I would have made it larger. Larger because a billboard just begins to limin the attrocity of man's inhumanity to man. My god.
If these paintings are autobiographical they play the victim card de facto.
If not, then it seeks to champion a cause. Either way I'm cool with that.
Up next: Ida Applebroog
None of this is to my taste, nor do I feel particularly illuminated, but I'm not the audience, I don't think.
the palate turns me off.
it is difficult subject matter due to its car accident like appeal, - Violence, Rape And Murder. story old as time. commercialism controls and shills our animal nature back to us.
There was a weird sense of the comical in the earlier work -- I remember in college seeing a painting of orifices stuffed in every way possible and it was funny and clever because of the way it was painted. Later that year, I saw a manga film with a similar image, but done in a different tone... more horriying and sexy yet less comical (for manga(?))
It was then I realized that there was a wide range of exploration to be had on the subject of orifice-stuffing. It might've beeen a decade ago, and it was by a Sue. I think it was Williams, though I may be mistaken. The difference between the two Sues lay of course in attitude, I feel... One ponders and one implicates. I remember noting in the 90's, the blackness of Coe's work... The indulgent use of ivory black paint, that is...
The rest of Coe was agitprop to me -- but then there was the image of Coe's pooltable -- which has burned a mark in my head -- until I saw ross and pheobe on a pool table on tv -- and then all was ok again; a thought which then relegated Coe's work to the piles of agitprop I recieved daily in the mail.
The mark of this Sue seems to have been a mark of a somewhat playful figure, amongst the playground of the corrupt and transgressive. I always thought of Richard Prince when i viewed this Sue (but maybe it was from the association of having to read a lot of text. ...)
As for her later work -- the paintings must be a releif!
before i was likein it a bit, thinkin about how working out your "past" trama thru fixation and restageing can be healing, - or there is a festishy pleasure in them...
after reading this however i think they may just be icky.
SUE WILLIAMS shows at 303 Gallery in New York City. She talks about her art with Josefina Ayerza in lacanian ink 7.
But Sue's no longer the rubber lady. She's healed.
I love Lacanian psych.
It wards off the bats.
Or brings them.
I don't know.
who can get enough of anal or oral sodomy really. every hear the phrase "it's not rape if i give you a blow job in the morning?"
for the record.
that is what i said when i woke up.. for the first time below a SW. it is called keeping your self respect.
I like her raw work better than the pretty abstracts she has been making as of late... and I heard her give a lecture on the new stuff, and she did not even address the content, just talked about the move to abstraction. Self preservation, I suppose.... no one likes "downer" art, no matter how real, effective, and visceral it is.
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