Xylor Jane


Painter said...

Xylor Jane @
55 Chrystie St
(between Hester & Canal),
NYC NY 10002

cathy said...

It looks obsessivly interesting...
I guess I'd have to see things in person.

So was she born with that name? Or when someone decides they want to be an artist they change it like some seem to do.

PrettyPablum said...

I had to look this up.

It's art about math. Simple math, only numbers. No geometry. So the work is flat. Filtered thru the 'artist touch' by being handmade.

Islamic art is handmade, and it's about math. So much more interesting than this. This looks like wallpaper.

zipthwung said...

I think its nihilistic in a sort of mind virus meets the braided rug kind of way. Downward fibonacci spiral. In a "why dont you make art Nero, instead of kicking your pregnant wife to death," kind of vibe.

Dont drop the prop, or it might destroy you. That sort of thing.

Not saying I'm convinced but you know, nothing matters.

Does art and life meet at the enema bag?

Yes and no.

and that is why art, like an impacted turd, will go on. despite its death.

zipthwung said...

I like math. Take the supply and demand curves - they form an x at the sweet spot. And yet art has a different sweet spot. Could someone explain that to me?

The rich are getting richer, so art prices must go up, logicly, regardless of supply or even demand, really.

But demand for a work increases as the price goes UP.

Thats because there is an added elemment - a "value added" that people in the biz call branding.

Xylor has a great name - namely Xylor, rymes iwth Xylol, one of my favorite mood altering solvents.

In my neck of the woods people get called Sunshine, or Silver or Raine. Rayne. I dunno.
Its the culture.

My point being that names can mean stuff.


You do the math. All I can say is its sinister.

Anonymous said...

It's about math?

"Stretch the canvas, prime the canvas...I have something to paint... and it's about math."

triple diesel said...

Is this really about math? We thought math was more like the means than the end and the paintings were really about dizzying op effects.

PrettyPablum said...

Nice tight formula for a painting. Math for San Franciscans.

Pharmaceuticals typically start with X or Z because it sounds more 'scientific'. Conversely, the names of auto series typically end in X because it reminds people of 'sex'.

Jane: typical feminine given name.

Anonymous said...

So it's not about math? A good formula goes a long way...formulas...parameters.. My parameters are...I'll do my best within...How to trap that which is most valuable to myself in regards to painting.

kalm james said...

Alfred Jensen did it 40 years ago and actually got involved in diagramming multicultural mathematical overlays, and the bizarre color theories of Goethe. In comparison this looks like math 101. As a painting, it’s not with out interest.

NNCGT said...

op art with the repetition death urge (to be generous). decoration dressed up as contemporary art. sometimes all-overnnes is not enough

closeuup said...

math is everything.

these touch on everything from teo gonzales to chuck close to shaker quilts, nets and spiderwebs and all. also vibration. visual vibrations. Gradation. Restraint and emotion.

islamic art, like diebenkorns, is about proportion. thats a master and servant thing-sexy if u will.

i knew 2 or 3 guys that became internet millionaires-god knows i hate their guts now--and one told me I should name my daughter jane. he said that was a sexy name.

Anonymous said...

Math may be everything...but it's also inevitable. A well spoken sentence involves math. Crib notes for good sentences...shameful

Decay Image said...

Fuzzy math. I think it's about the Iraq war, that must mean it sucks, because it isn't emotional enough. Maybe if the artist tried to paint more like ellen altfest, there's someone who's obsessive. Wait, I know, it's missing the eyeholes.

closeuup said...

there's a difference between being obsessive and being about being obsessive, isnt there?

NNCGT said...

to decay: ellen altfast is not exactly a painter i would call obsessive -- certainly not one to emblematize the word. true that her work involves somewhat large areas of fairly detailed work, but the strokes themselves are on the clunky side, not really so obsessive at all.

SisterRye said...

It reminds me of Doukoupil's fingerprints.

Decay Image said...

I was being ironic, re Mumford thread, as I cannot see one single issue that is being furthered in this painting, but I haven't seen it in person. Perhaps I have seen too many grid based monochromatic works in my time to be sensitive enough to pick up on the philosophical subtleties here.

Anonymous said...

She's a spider who spins in numerals.
I hear she's an interesting character too!

Math isn't everything, it's a faith. And useful as long as you can keep that faith.
Jane sees unity in just about everything, which is the hardest faith to keep, even at the best of times.

Yeah, closeuup, they are fabric--vibrating fabrics, out-of-kilter-op, of the everyday proportion.

closeuup said...

how things start

zipthwung said...

Chuck Close has a copyright on fingerprints, like Lichtenstein has benday dots and sigmar Polke has Polkadots.

The grid is allways for sale. Dont let agnes martin scare you.

Fibonacci math is easy, and if this work isnt about AIDS or passover ritual then Im totally bored. I need more chaos theory (See James Gleik) or Probability - you know, weather forecasting.

What are the odds.

triple diesel said...

decay image, these paintings were not monochrome.

Decay Image said...

sorry 3D, I meant to say monochromaticISH. Does that give a radically new interpretation to things? What am I missing here?

harold hollingsworth said...

there is one in the microsoft art collection, and its about math...

triple diesel said...

Some of them had a restricted palette that modulated from the center out. Others covered the roygbiv spectrum. The "radically new interpretation" seems pending, but to experience the color interaction was radically different than it would be in monochrome.

Anyway, the op-art color radiation seems to be the "about" of these paintings, and not the math/patterns that led to it.

Also, these follow a "sloppy grid" and not "rigid grid" which is sort of like a dialect of gridspeak.

cathy said...

I was looking up fecal impaction earlier for no reason than trying to randomly amuse myself. I guess if gets too bad it starts coming up through the mouth.

Kind of like the art world.

Which is also like an asscrack, because its dirty and smelly but interesting shit comes out of it, sometimes.

zip you are always so amusing.

no-where-man said...

don't ask don't tell...

i am not sure if any of u have ventured to planet gay - but hand signals... ok the guy in the back could not be thinking about selling mr mr to me more.

it make me feel like a real man when i shoot.

no-where-man said...

oops sorry ment that for painting below.

Anonymous said...

This is the environment I saw her drawings in for the first time. And I thought, hang on there's something here!

I thought... What at first appear mercurial and manic start to impress a fine logic at work, that of the intuitive, the former of things beyond our sensible, that builds specimens out of tiny spaces under rocks, lines and tracks, speeds and jerks, of the holder left-handing (all three drawings where made with Xylor’s left hand--supposedly to give the right a rest from obsessional behavior) in the container each day on the subway.

Hope she gets the NY support she deserves.

zipthwung said...

You'll Never Know: Drawing and Randon Interference
Jeni Walwin
Hayward Gallery Publishing 2006

72 pages ISBN 1853322547

13 x 18 cm English text. Softcover

Chance and 'random interference' are essential elements of the creative process for many artists. In life as in art, causal connections are often beyond conscious control: we are acted upon as much as we act. Like gamblers, the artists in You'll Never Know positively welcome, rather than resist, the unpredictable – whether deploying ingenious drawing machines or primitive mark-making incorporating the accidental drips and splashes of ink, paint or mud. In the accompanying essays, a novelist, a scientist and an art historian explore the implications of chance as a factor in gambling, quantum physics and art.

Includes works by: Anna Barriball, Anne Bean, Paul Cassidy, Stephen Cripps, Ian Davenport, David Farnham, Paul Harrison and John Wood, Mona Hatoum, Claude Heath, Rebecca Horn, Tania Kovats, Tim Knowles, Henry Krokatsis, Richard Long, Alice Maher, Cornelia Parker, Steven Pippin, Damien Roach, Ed Ruscha, Keith Tyson

Price: £9.95


Dying Everyday
55 Chrystie Street, near Hester Street, Lower East Side
Through Sunday

Xylor Jane has moved from making enormous visionary drawings to working on square panels less than four feet on a side, where she seems to be formulating a highly intuitive variation on what was called serial painting in the 1970s. In all the paintings a grid of some sort is present, and each brushstroke, large or small, is a round-topped shape — a single dab of a paintbrush that also suggests a fingernail or a tombstone.

The best are monochromes reminiscent of Agnes Martin grid paintings but with active, sometimes hallucinatory, spatial twists. This is especially the case in the vortical plunge, in black and dark violet, of “So Long,” and the lateral slide of “Untitled/3,333,” where a field of white strokes, bordered in black, hints at a colored rainbow.

Less interesting are “End Times” and “Dying Everyday 1963-2044,” which use seven bright colors to create moirĂ© patterns that bring to mind Jennifer Bartlett’s dot paintings of the early ’70s (although the graduated darkness overtaking the edges of “End Times” is intriguing, as is thinking about how Ms. Jane managed to achieve it, dab by dab).

As with the disparate works of Alfred Jensen, On Kawara and Danica Phelps, these efforts mark time in a highly personal, coded manner. But the obsession that drives them comes across just fine, throwing distinctive roadblocks into the path of the inevitable. ROBERTA SMITH

Anonymous said...

It's good ink, thanks 'nyt' for posting (print only, I guess).

throwing distinctive roadblocks into the path of the inevitable good!
another upcoming artist is:


Systematic, though highly intuitive, aggressive almost--constructive without getting mixed up in the muck of truth.

NNCGT said...

red state art dressed up as blue state art.

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