Carrie Moyer @ Canada55 Chrystie St (between Hester & Canal), NYC NY 10002
do you have to be canadian to show at this gallery?saw this on the other site and looked up gallery to see her other work.I dont find this particular comp very strong... bottom of painting is very distracting. those little feet things. the leggy feet things work better in other work...
FINALLY! I like her stuff a lot... she was one of the favorites at the big Tang Museum painting survey.
I have not seen the show, but my first impression is that the political underpinnings of her past paintings have fallen out for some reason. That may not be to the benefit of the paintings, not sure. The play against 'primitive kitsch' seems less compelling.I like Canada gallery, and I like the fact that they are showing this artist.
i don't think the political underpinnings have disappeared whatsoever - the imagery in this recent group of paintings all seem to reference early feminist painting genres of goddess and central core imagery through her familiar graphic abstraction.
Strong endorsement indeed TPL! It is not I that will douse this spirit neath the flames of flamery! Canada had the COURAGE of its CONVICTIONS to stay off the beaten track in the gritty Lower East Village! Amen to that! Leo Koenig didnt have the balls to stay down on centre street. Too much gunfire and drug use. If you like Canada and you like their artists, then its worth a special trip down there. Brink a flack jacket and a can of mace.I should like the artists and their work, because of my totally ANTI stance. But I dont think they are totally anti. I think THEY are totally for the ANTS because its makes me antsy. Follow the formic acid, i say, theres bound to be sugar at the end of the paragraph.“Not "Seeing is Believing," you ninny, but "Believing is Seeing." For modern art has become completely literary: the paintings and other works exist only to illustrate the text.”-TOm Wolfe
Also - what artists today are ertoticizing fear successfully? Name your top pick(s).Thanks in advance.
looked better online no offence; they look like photo collage in jpeg, more normal in person
can I supersize you today?
Clinton Fein at ToomeyTourell. Their website never works right. Hope you can see it.
erotocizing fear successfully?hmm interesting question....
Georgia O'Keeffe comes to mind, though these are decidedly more empyrean, classic Greek? ... before color!http://www.artchive.com/artchive/O/okeefe.html
what artists are actually fearful and attempt to express this? please list these as well
what keeps mankind alive?
is anyone in nyc not afraid of some form of attack?fyi,- For anyone who blogs - there is a host called imeem you use it to create playlists of your own or sample others to host audio, video or images then are then really easy to add to myspace or your blog.
I'd just like to see some examples of painters that are painting from a place of fear or trying to express this. if anyone can give a few examples i'd like to look them up,.recent painters.zips comment made me curious about this..so if anyone has a couple names it would be most appreciated.
You know, the color and stuff reminds me of childrens books - the arty ones A Maya Angelou book or something.(No one I knew growning up owned fine art and I mostly just remember a particular isamu naguchi....I dont remember thinking it was awesome - just that it was tactile, like a jungle jim). "I must not fear. Fear is the mind-killer. Fear is the little-death that brings total obliteration. I will face my fear. I will permit it to pass over me and through me. And when it has gone past I will turn the inner eye to see its path. Where the fear has gone there will be nothing. Only I will remain."
Re Sean Landers - It is not the thing you fear that you must fear - it is the mother of the thing you fear.Ware the gruffalo.
re the coloring book:http://www.powells.com/biblio?isbn=0867193719
i like this painter. i'm cautiously optimistic in thinking she'll get better and better. in three-shows' time, she could even become utterly original. while i don't like every choice she makes in painting, i understand my distates as personal, meaning there's nothing intrinsically wrong with the paintings, i just like chocolate more than kiwi.
poppy - about the fear artists... that is triggering a memory of someone i think who once specifically said that... i will try to remember.AH, i just got it! Kusama Yayoi.
so many things to fear--terror, starvation, women fear men and apparently men fear women!i gave her my heart but she wanted my soul dont think twice its alrightdont think twice indeed
Rick: I stick my neck out for nobody.Louis: Wise foreign policy.
But whats puzzling youIs the nature of my game
can't keep a good neck down
sean landers is def afraid of not being accepted by art world, i guess that'll do.
Louise Bourgeois, don't abandon me pillows...Joy Garnett, the political images...in some weird way, Brian Calvin, his people always look numb.
pleeze, will someone just fuck tom wolfe?
Published: February 2, 2007CARRIE MOYERThe Stone Age, New Paintings Canada 55 Chrystie Street, near Hester Street, Lower East Side Through Feb. 11Carrie Moyer’s paintings are bracing blasts from several pasts and look surprisingly contemporary because of the deliberation with which they are made. Starting with the elegant earthiness of raw, unbleached canvas, Ms. Moyer builds thin, levitating strata of contrasting colors, forms and techniques, each with its own set of historical, stylistic and physical references. Crisp shapes and negative silhouettes often evoke prehistoric goddess statues, rock formations or ceramic vessels. Translucent pours of color suggest natural streams, menstrual blood and the male-dominated history of formalist painting, while textures applied in expanses of hand or finger prints allude to cave paintings but also to 1970s feminism (especially the hand-printed paintings of Harmony Hammond). Throughout, 1980s appropriation strategies, especially as they descend from Philip Taaffe, are pulverized and recast. In “Furbelow,” Ms. Moyer brings out the inner goddess of a curving Jomon period Japanese vase by adding hints of nipples to its top. Meanwhile “Old Flame,” an ancient brazier that is also a figure, is engulfed in a slow burn of color that suggests unquenched desire. Ms. Moyer shares her penchant for precision layering with Stephen Mueller and her ambiguous figurative abstraction with Nicola Tyson. The combination of weightlessness and inner light is more singular and almost photographic in effect; it announces that everything is on purpose and accents a pervasive feminism that is both primordial and ineffably elegant. There’s a cautious quality to Ms. Moyer’s precision that she will need to face, but for the moment the sense of looking all the way through to the back of her paintings, and deep into history, is very impressive. ROBERTA SMITH
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