When friends rope me in to a day of driving to the antique warehouses and browsing for who knows what, and we have been at it for four hours, and my back hurts and I'm thirsty and hungry, and it is still an hour drive to get home.... I feel like this painting makes me feel.
The deer? Really? I LOVE the deer. Love the flowers. Love the lavender & turquoise. Not so into the muddy browns though. I wonder if these are intentional browns? Or good paint gone to mud? Hard to tell.
i have been to the show they are larger this may helpand are much lighter then showing up on this pc monitor which is far more key to this work then those below. space is the subject.
yeah,brangalina,i really don't "like"painting-its just a little hobby of mine to check this site out when I have time off of my job at the sheepskinning factory...
here are a few painters I am interested in-dennis hollingsworth,david humphrey,amy myers,jane wilson,paul noble(these last two are not exact.painters per se)nigel cooke,robert schwartz(dead)frank auerbach,a shitload of dead people,and much more...
Really great follow-up to Susan Rothenberg, painter.
These paintings seem like a good idea: making a garden out of gestural, all-over composition. The strokes seem to scrape the paint rather than push it, but maybe that's because she's clawing out of the claustrophic chambers she's painting.
"don't see the Laura Owens in this. Much more expressive painter."
MUCH MORE. MUCH. HOW MUCH?
Id argue that busier compositions and longer brushtrokes dont make a painting more expressive.
THe speed at which one seems to paint? Rothenberg seems MUCH more expressive than this. See what I mean?
Susan Rothenberg gets on my nerves for scumbling and this gets on my nerves for the blending.
Blending reminds me of mural painters who rely on it to create effects.
Effects are what illusionists use. We here are concerned with direct application of experience to canvas. BAM BAM BAM.
But seriously. No, SERIOUSLY. MUCH MUCH MUCH more seriously.
I guess I hate painting.
No, I hate most painting.
Listen, whats up with this decorative crap? Chicks seems to gravitate towards it. SOmething about beauty being gendered or something. But thats me and nothing in this painting points towards a critique so I LOATHE it. I DESPISE it. Its like a MY LITTLE PONEY painitng. Its like a Disney movie but without a plot.
Or is this a depiction of Freudian MIRROR phase and I see death reflected in my head.
No, mirroring and mandallas are the style of the time. Its fashion.
I know a lot of people who were and are painting like laura owensish (this) BEFORE the BIENNIAL! even. Its like people are psychic or something. How do these movements come about?
So since it's been done it should be over? All these young girls toughen up and make paintings like the boys. Give me a break. You are a bunch of sexist. At least there is something to identify once self with here. They are very female and that is what I think you are haveing a problem with. They are also very well painted and beautiful.
I like it, it took some getting used to on the color explosion front at first.
While I respect everyone's opinion here, after reading many posts I noticed that every subject matter has been put down by all of us at one time or another (I'm guilty too), from girly decorative deer and nature, to mimectic war art, to fake german nostalgic german painting, to op art that has already been done, to folksy imaginary world paintings, to paintings giving too many nods to outsider art as a stle, to celebrity portrait paintings meant as a critique .... It is a bit daunting, this box of the one liner write off.
And what is the subject matter that cannot be written off as a follower movement or instead--just seen as being relevant to all contemporary society.....nothing, right?
How does one express angst? I dont want to be too shrill to put off buyers, bit on the same hand I dont want to compromise and make meaningless wall tapestries. On the other hand, why arent MY SAT test paintings selling?
Decay those are not even in the same legue as Anrther paintings. Her paintings are really painted well and I think if you could use some insite you maybe able to see that rather than focusing on the subject matter. I really don't think the subect matter is all that important to the paintings, just an easy way for you to criticize beauty.
i hope really beauty is not an african skin lightener...but seriously,the more one tries to figure out "beauty",the more the notion seems to fall away,like footprints you hallucinated after too much speed..
"Far from usurping any current preconceptions about painting, ’90s Bad children played fawning court jesters to the entrenched authorities, ridiculing the previous regime — their aesthetic grandparents, whose work they knew only in the form of a condescending shorthand. "
Ah yes the old pit an pendulum routine. Yeah, i could paint, you know, a pit and a pendulum, and be like, you know, interrogating something.
Nobody would suspect that under the veneer of 10,000 masterfull glazes there wasnt any underpainting. Nor pants.
Some of the most beautifull paintings in the world have been painted by starving destitute syphilitic leppers with heroin addictions. Brushes tied to stumps with noisome rags! Paint made from feces blood and frozen urine!
Kuspit said (in that thing zip posted a while back, i wrote it down) beauty finds the ideal in the real. which is great cus that is what this painting tries to do.
i live in a place where i see deer almosst every day. In fact, a deer died in our front yard 2 months ago-hit by a car. did i think of iraq? I did.
Deer remind me of homeless people. We do indeed have a "garden" and they eat everything in it. They eat out of the birdseed feeder too. They rub their antlers on the tree trunks and gouge huge holes in them. There is no fence high enough to keep them out. You should see them leap. The mature ones are huge & powerful. They are all quite awesome & graceful. Perfectly imperfect. A lot like like homeless people in fact.
lived in Scotland and met him a few times(Campbell). My ex wife knew him, he's not a nut job if you understand the size of the chip on the shoulder Scottish working class people carry around with them.
Smart guy though, he had a show a few years ago in Scotland that was very good, he's woking a lot and lives in the country from what I hear.
George--to answer your question way up there: too many colors, color resonance turns dirty, no space to breathe between colors, too many colors combatting one another disintegrates form.
I think this is a decent painting. I have some issues with Claudine Anrather’s subject matter, cute animals seem a bit shopworn at the moment but this could pass over time as the work develops. I don’t think the comparison to Laura Owens matters much, in my estimation Claudine is the better painter. She has a very good eye and color sense. The artist who came to mind as a source or precedent was Odilon Redon.
oh you are so right george, odilon, yeah! And i agree with you i don't see the owens comparison either. I also like the transitional moment when i first set my eyes on this painting , no matter how many times I see it- where my eyes adjust from taking in the colors and paint to seeing the deer emerge out of it. Just like a magical forest.
Did you ever really look at eyeshadow lipstick and nailpolish colors? I always liked that section of Macy's with the gridded boxes of makeup colors. Her color more subtle and varied than the out of the tube look which is so prevalent.
these deer are not cute--they are feral, graceful and powerful. the color is thick and overpowering. i think nancy pelosi will hang this in the wite house when she gets there.
George , you are so wrong-study Monet's palette well. There is great resonance --in fact that is what he strove for with color--to create color vibration BETWEEN two particular colors. Go ahead--prove me wrong with an example. He never slathered colors of similar tones on top of one another.
What is with everyone and deers? I think about deers alot too. I think because I keep hitting them with my car and it is hunting season. I like this painting quite frankly and don't mind the colors at all. After seeing this I blocked out the deer in one of my paintings, well not exactly. It was bothering me anyways.
I love this artist work and this show. I think deer are perfect subject matter for her and make a lot of sense in the paintings. I get the sense that she is not paying attention to what is going on around her in the current art scene and is painting them purely because they make sense for her work.
I brought up Monet in response to ‘too many colors’ and didn’t mean to inject him into the discussion of Anrather’s paintings. Redon was a side flash to a postcard of one of his paintings someone had sent me. He might be a useful source for her but I don’t think her paintings look like Redon.
As I see it, the danger zone in Anrather’s paintings is her tendency to slip into cuteness or the use of gratuitous decorative elements. It’s not that I have a specific problem with the deers in the paintings but I would like to see her broaden out her range of subject and not become trapped as a ‘cute animal painter’
I disagree with the negative remarks about her use of color. That is not to say that I don’t think it could be improved but I feel she is a painter with a good color sense. The color in the paintings feels intuitively resolved and not based upon theory.
I also feel the asymmetry of the two deers is what makes the painting work, symmetrically executed it would be a bust.
Anrather strikes me as being a gifted painter. I think she needs a little more time to develop the exact direction the paintings take and to toughen them up a bit.
"get the sense that she is not paying attention to what is going on around her in the current art scene and is painting them purely because they make sense for her work.
This points to the idea that there are two ways of working - highly influenced by "the scene" and totally uninfluenced.
Priviledging influence is a good idea. I think more people should paint like eachother. This leads to standards and value judgements with which we can create a rational objective sense of value. THis will create fairness in the marketplace as well as in the creative social millieu.
Coming from austria I dont think they have highbrow art magazines over there in the societ block, so im guessing this comes from an authentic sense of the austrian hunting culture. Cookoo clocks. Lodges full of hunting trophies. Murals of woodland scenes. Matinee screenings of Fantasia.
SO whats interesting to me is this looks like it could have come out of williamsburg, which has this odd culture with a curated pre-owned clothing store, more bars than you can go to in a month, and and ubndercurrent of fear and loathing, at least in my diaspora.
im no psychologist, but you explain that one to me. DOnt deer reproduce like the budding nematode? The liver fluke? Why not more paintings of liver flukes? There was this one x-file where a humanoid liverfluke terrorizes a russian trawler and makes mulder pout. Awesome!
I think the reason for your feelings comes from the fact that full spectra a traditionally presented in a white or black context. White and black have always been the saviors of painting. The same applies to monochromism. Without white or black there will be insanity.
zipthwung-why all this fluke crap. First of all they are trematodes. It is also funny that they choose the ant as an intermediate host. Very telling. But at the end there are just internal leeches, nothing more. So why not paint leeches. It saves you the work to cut through deer intestines to get your model. In Anrathers work there is nothing of a fluke. Flukes don't propagate in dead meet.
Beulah Park is a community of about 1500 residents, in the nineteenth century inner ring of Adelaide suburbs. For reasons lost in the mists of history it forms part of the middle-class municipality of Burnside, whose ‘Stockbroker Tudor’ pretensions make it an unlikely context for experiments in urban ecological sustainability.
shrinks are beautiful people. i have sold more paintings to shrinks than any other profession. lawyers next. OK they have too much money. this summer i sold a painting to an art history professor. for some reason, that sale frightened me.
I saw Anrather's show in person which is very different from the view on my computer screen -it always is. The paintings' merits are that they're sloppy, lush, sexy, queer, haunting and reveal a world of their own. I'm not one hundred percent sure which "world" they are. They're complicated. For a while they looked playful then they looked haunting then sexy. They seduced me into wanting to ride along to see what they would change into next. If they remind me of anyone's work it's the photographer Julia Margaret Cameron for their dreaminess and oblique sexuality. There is one painting in the show that has a woman's face in it that is very much an Odalise - it's not an homage - I just mean that it is a woman who allows you to watch her, but not all of her. That's how all of the paintings are here they're shadowy glimpses into another world. And the paint handling is beautiful. Oh la la.
I love these. They remind me of Munch and Klimt which is kind of obvious but a part of the appeal. I would have liked the show more if it had been hung academy style- they seem sort of uncentered and scenic but were hung like standard easel paintings.
Uh yeah OK they are both obvious influences on this artist. More obvious than Redon mentioned above though I can see that too. I don't think the obvious historical influences are either derivative or kitch, No more derivative than what Jerry Saltz calls " seventh generation School of Paris" which I get the impression is your taste Peeps. I'm planning to get a job teaching 2D design down the hall from you Peeps. We can read Marilyn French together in the lunchroom and you can teach me jackshit about "push and pull" or whatever it was artists cared about back in the days wen you guys painted by candlelight and wore gorilla masks. I'll bring you some bananas and a nice paint splattered smock and a beret.
I can see what Kelli is getting at. 'Remind' and 'look like' are different associations. There's something about the fluid movement in the composition of Anrather’s forms which could bring Munch to mind. Munch shapes are more rounded at the corners. Anrather’s are sharper because of the prominent brushwork but the way the forms move across the picture space in a curvilinear fashion could spark an association.
Klimt made a number of landscapes with repetitive floral elements, they form more of a pattern than Anrather’s do but I can see the association. I had a similar association with Redon, I didn’t mean they ‘looked like’ Redon, just that somehow I made that connection, reminded me.
Kelli ouch... Peeps you got served up some crow with a side of humble pie, which is on the menu in every republican houshold this week. I here the price of crow has gone up per pound...
I can see the Klimt associations, however not seeing these in person puts me at a disadvantage, I also see the Redon and I kept thinking of Stephan Campbell, don't know why but I guess its the wood scenes.
They do have a kitchyness and after looking again I like the dark ones better that the light fluffy Disneyish ones.
No... Mr.Peeps is right... it does not look influenced by Klimt or Munch and most assuredly not "obviously" influenced by Klimt or Munch. Kelli, you are way, way off. Me thinks it's a much more subtle brew of Cecily and Laura....Symbolist Redon makes more sense as does Pre-Raphaelite painting.
Klimpt is right. TOne if not style. Kitch is right. 31 Grand has some kind of mission. Seasonings. Tea Room. THey still remind me of murals - maybe because a lot of restaurants have kitchy murals to aid the gustatory experience. Heaven where art thou.
I saw this show "Semina Culture" (Beat cultural connections) this weekend, and listened to the poetry reading by DiPrima, McClure and Meltzer. Great exhibit. Timeless-which I think means it appeals to young and old. Anyway, lots of yooth at the reading along with the usual greyhairs. Why not cuz the poetry is gushing with life...
OH EASE OH BODY STRAIN OH LOVE OH EASE ME NOT! WOUND-BORE be real, show organs, show blood, OH let me be as a flower. Let ugliness arise without care grow side by side with beauty. Oh twist be real to me. Fly smoke! Meat-real, as nerves TENDON Ion, FLAME, Muscle, not banners but bulks as we are all "deer" and move as beasts. Stalking in our forest as these are speech words! Burn them pure as above they rise from attitude are stultified. Are shit. Burn what arises from habit. Let custom die. Smash patterns and forms let spirit free to blasting liberty. Smash the habit shit above! ! ! ! ! ! ! ! !
Wow, I cannot believe how many strong (and many negative) comments this painting has stimulated. I love this painter's work. someone else mentioned smelling the forest, I agree. This painting leads to synesthesia for me. she has created such a realised world. I can smell the damp and feel leaves brushing against me. This painting actually reminds me of Franz Marc--it's like the deer and the air and the plants and earth are melding together yet still retain their "deerness" or "plantness" or whatever. I think this painting is very sophisticated. And the use of colour is stunning.
95 comments:
Claudine Anrather @
31GRAND
31 Grand St
Brooklyn, NY
11211
When friends rope me in to a day of driving to the antique warehouses and browsing for who knows what, and we have been at it for four hours, and my back hurts and I'm thirsty and hungry, and it is still an hour drive to get home.... I feel like this painting makes me feel.
this enrages me-is that the point?
So Beautiful.
exu - I don't think so. What's enraging you?
uh...the deer?
Kooky-pretty. Ensor-ish?
the purple and tuquoise?the soylent green death room anodyne?
the "flowers"...and the other deer
What is that black thing in the front? Is that a giant flower pulling you in? Birds? Coolio.
Very insouciant/richter those abstract sweeping strokes.
The deer? Really? I LOVE the deer. Love the flowers. Love the lavender & turquoise. Not so into the muddy browns though. I wonder if these are intentional browns? Or good paint gone to mud? Hard to tell.
sets back color theory about a billion years, in my opinion
sets back color theory about a billion years, in my opinion
Can you explain what you mean please?
i have been to the show they are larger this may helpand are much lighter then showing up on this pc monitor which is far more key to this work then those below. space is the subject.
yeah,brangalina,i really don't "like"painting-its just a little hobby of mine to check this site out when I have time off of my job at the sheepskinning factory...
here are a few painters I am interested in-dennis hollingsworth,david humphrey,amy myers,jane wilson,paul noble(these last two are not exact.painters per se)nigel cooke,robert schwartz(dead)frank auerbach,a shitload of dead people,and much more...
Really great follow-up to Susan Rothenberg, painter.
These paintings seem like a good idea: making a garden out of gestural, all-over composition. The strokes seem to scrape the paint rather than push it, but maybe that's because she's clawing out of the claustrophic chambers she's painting.
"don't see the Laura Owens in this. Much more expressive painter."
MUCH MORE. MUCH. HOW MUCH?
Id argue that busier compositions and longer brushtrokes dont make a painting more expressive.
THe speed at which one seems to paint? Rothenberg seems MUCH more expressive than this. See what I mean?
Susan Rothenberg gets on my nerves for scumbling and this gets on my nerves for the blending.
Blending reminds me of mural painters who rely on it to create effects.
Effects are what illusionists use.
We here are concerned with direct application of experience to canvas. BAM BAM BAM.
But seriously. No, SERIOUSLY. MUCH MUCH MUCH more seriously.
I guess I hate painting.
No, I hate most painting.
Listen, whats up with this decorative crap? Chicks seems to gravitate towards it. SOmething about beauty being gendered or something. But thats me and nothing in this painting points towards a critique so I LOATHE it. I DESPISE it. Its like a MY LITTLE PONEY painitng. Its like a Disney movie but without a plot.
Or is this a depiction of Freudian MIRROR phase and I see death reflected in my head.
No, mirroring and mandallas are the style of the time. Its fashion.
Ive heard people talk about expressive use of color.
Im a big fan of orange and purple. Blue and red.
Rothenberg should do that instead of the namby-pamby plaette at the last show.
it's a critique...of everything you hold deer...
three three three shows in one!
We've filled the thunderdome with mud for massively muddy TRACTION ACTION!!!!
We have the BEAST, THE GRAVE DIGGER, RUST MONSTER, and Walt Disney's corpse tied to a backhoe.
Were going to destroy four thousand long stemed roses in four seconds!
First four hundedred at the door get machine guns for our LIVE DEER RELEASE!
Yes thats right, four hundred darling little bambies and four hundred guns! Fire until your clip runs dry!
Free beer!
You are not going to give laura owens credit for this. DO you have quantifiable proof?
No, you dont.
I know a lot of people who were and are painting like laura owensish (this) BEFORE the BIENNIAL! even. Its like people are psychic or something. How do these movements come about?
I think owens had "backstory"
like when a character has a nasty dueling scar down the side of ones face. "Ah, a Leipziger", we say.
"Owens makes very large paintings of subjects that, generally speaking, are enjoyable and engaging for her audience.
here
Pretty intense.
Holland cotter knows fuckall about whos influencing who.
ah but in this case, signs point to yes
So since it's been done it should be over? All these young girls toughen up and make paintings like the boys. Give me a break. You are a bunch of sexist. At least there is something to identify once self with here. They are very female and that is what I think you are haveing a problem with.
They are also very well painted and beautiful.
I like it, it took some getting used to on the color explosion front at first.
While I respect everyone's opinion here, after reading many posts I noticed that every subject matter has been put down by all of us at one time or another (I'm guilty too), from girly decorative deer and nature, to mimectic war art, to fake german nostalgic german painting, to op art that has already been done, to folksy imaginary world paintings, to paintings giving too many nods to outsider art as a stle, to celebrity portrait paintings meant as a critique .... It is a bit daunting, this box of the one liner write off.
And what is the subject matter that cannot be written off as a follower movement or instead--just seen as being relevant to all contemporary society.....nothing, right?
Yeah Im sexist. WHat qualities do you think are female in this painting?
Lack of angst?
Is lack of angst in right now? Because I can change I can change I can change.
heidilolatheayatollah she is Austrian.
How does one express angst? I dont want to be too shrill to put off buyers, bit on the same hand I dont want to compromise and make meaningless wall tapestries. On the other hand, why arent MY SAT test paintings selling?
Women give men shelter from the storm.
Decay those are not even in the same legue as Anrther paintings. Her paintings are really painted well and I think if you could use some insite you maybe able to see that rather than focusing on the subject matter. I really don't think the subect matter is all that important to the paintings, just an easy way for you to criticize beauty.
female = Lack of angst? teh heh
anyhow these paintings are very amid repressed angst filled.
This about really beauty not surface beauty and find out and describing what that is.
Beauty is the last refuge of the inarticulate.
It leaves you speechless?
i hope really beauty is not an african skin lightener...but seriously,the more one tries to figure out "beauty",the more the notion seems to fall away,like footprints you hallucinated after too much speed..
I was just punning you
"Far from usurping any current preconceptions about painting, ’90s Bad children played fawning court jesters to the entrenched authorities, ridiculing the previous regime — their aesthetic grandparents, whose work they knew only in the form of a condescending shorthand.
"
Ah yes the old pit an pendulum routine. Yeah, i could paint, you know, a pit and a pendulum, and be like, you know, interrogating something.
Nobody would suspect that under the veneer of 10,000 masterfull glazes there wasnt any underpainting. Nor pants.
Some of the most beautifull paintings in the world have been painted by starving destitute syphilitic leppers with heroin addictions. Brushes tied to stumps with noisome rags! Paint made from feces blood and frozen urine!
Im on the long wave with the long board.
ohmmmmmmmmmmmmmanepadmehummmmmmmmmmmmmmmmmmmmmmmmmmmmmmmmmmmmmmmmmmmmmmmmmmmmmmmmmmmmmmmmmmmmmmmmmmmmmmm.
you know the sound a record makes when the needle gets to the end?
Thats why conceptual art trumps painting, intellectually.
It is what it is.
But then some moron tries to make painting into a puzzle. You have to hit those people, and hit them hard. With a baseball bat.
Kuspit said (in that thing zip posted a while back, i wrote it down) beauty finds the ideal in the real. which is great cus that is what this painting tries to do.
i live in a place where i see deer almosst every day. In fact, a deer died in our front yard 2 months ago-hit by a car. did i think of iraq? I did.
J1
Deer remind me of homeless people. We do indeed have a "garden" and they eat everything in it. They eat out of the birdseed feeder too. They rub their antlers on the tree trunks and gouge huge holes in them. There is no fence high enough to keep them out. You should see them leap. The mature ones are huge & powerful. They are all quite awesome & graceful. Perfectly imperfect. A lot like like homeless people in fact.
her work is so corny and kitchy, is this the point?. for paintings of strange things that go on in the woods:
here
Deer come out at twilight.
Interesting.
youtube
this painting reminds me of how I feel when I am PMSing.
i see the deer in the morning on my way to work. they are always out because they are hungry.
doesnt angst translate into fear?
lived in Scotland and met him a few times(Campbell).
My ex wife knew him, he's not a nut job if you understand the size of the chip on the shoulder Scottish working class people carry around with them.
Smart guy though, he had a show a few years ago in Scotland that was very good, he's woking a lot and lives in the country from what I hear.
George--to answer your question way up there:
too many colors,
color resonance turns dirty,
no space to breathe between colors,
too many colors combatting one another disintegrates form.
Im afraid of becoming what I thought I despised - some kind of icarus that flew too close to the light bulb
Up next: Gorillas in the mist.
hlowe,
Monet flunks
I think this is a decent painting. I have some issues with Claudine Anrather’s subject matter, cute animals seem a bit shopworn at the moment but this could pass over time as the work develops. I don’t think the comparison to Laura Owens matters much, in my estimation Claudine is the better painter. She has a very good eye and color sense. The artist who came to mind as a source or precedent was Odilon Redon.
oh you are so right george, odilon, yeah! And i agree with you i don't see the owens comparison either. I also like the transitional moment when i first set my eyes on this painting , no matter how many times I see it- where my eyes adjust from taking in the colors and paint to seeing the deer emerge out of it. Just like a magical forest.
the colors are eyeshadow lipstick and nailpolish
Did you ever really look at eyeshadow lipstick and nailpolish colors? I always liked that section of Macy's with the gridded boxes of makeup colors. Her color more subtle and varied than the out of the tube look which is so prevalent.
these deer are not cute--they are feral, graceful and powerful. the color is thick and overpowering. i think nancy pelosi will hang this in the wite house when she gets there.
jack in the pulpit
campbells creatures are so much more interesting.
don't think they would eat you, maybe pick your pocket for some pub money.
George , you are so wrong-study Monet's palette well.
There is great resonance --in fact
that is what he strove for with color--to create color vibration BETWEEN two particular colors. Go ahead--prove me wrong with an example. He never slathered colors of similar tones on top of one another.
And as for Redon. His discrimination of line, form and color exceed this.
meet james ensor
kinda
it is a w-burg gallery i think there is an unspoken law about having a certain amount of deer shows.
this week in Art - Nigel Cooke opens art Andrea Rosen, public viewing for the Auction houses upcoming Contemporary Art sales.
What is with everyone and deers? I think about deers alot too. I think because I keep hitting them with my car and it is hunting season. I like this painting quite frankly and don't mind the colors at all.
After seeing this I blocked out the deer in one of my paintings, well not exactly. It was bothering me anyways.
I love this artist work and this show. I think deer are perfect subject matter for her and make a lot of sense in the paintings. I get the sense that she is not paying attention to what is going on around her in the current art scene and is painting them purely because they make sense for her work.
in spirit tomas
I brought up Monet in response to ‘too many colors’ and didn’t mean to inject him into the discussion of Anrather’s paintings.
Redon was a side flash to a postcard of one of his paintings someone had sent me. He might be a useful source for her but I don’t think her paintings look like Redon.
As I see it, the danger zone in Anrather’s paintings is her tendency to slip into cuteness or the use of gratuitous decorative elements.
It’s not that I have a specific problem with the deers in the paintings but I would like to see her broaden out her range of subject and not become trapped as a ‘cute animal painter’
I disagree with the negative remarks about her use of color. That is not to say that I don’t think it could be improved but I feel she is a painter with a good color sense. The color in the paintings feels intuitively resolved and not based upon theory.
I also feel the asymmetry of the two deers is what makes the painting work, symmetrically executed it would be a bust.
Anrather strikes me as being a gifted painter. I think she needs a little more time to develop the exact direction the paintings take and to toughen them up a bit.
"get the sense that she is not paying attention to what is going on around her in the current art scene and is painting them purely because they make sense for her work.
This points to the idea that there are two ways of working - highly influenced by "the scene" and totally uninfluenced.
Priviledging influence is a good idea. I think more people should paint like eachother. This leads to standards and value judgements with which we can create a rational objective sense of value.
THis will create fairness in the marketplace as well as in the creative social millieu.
Coming from austria I dont think they have highbrow art magazines over there in the societ block, so im guessing this comes from an authentic sense of the austrian hunting culture. Cookoo clocks. Lodges full of hunting trophies. Murals of woodland scenes.
Matinee screenings of Fantasia.
SO whats interesting to me is this looks like it could have come out of williamsburg, which has this odd culture with a curated pre-owned clothing store, more bars than you can go to in a month, and and ubndercurrent of fear and loathing, at least in my diaspora.
chicks =deer
guys=deer with horns
im no psychologist, but you explain that one to me.
DOnt deer reproduce like the budding nematode? The liver fluke?
Why not more paintings of liver flukes?
There was this one x-file where a humanoid liverfluke terrorizes a russian trawler and makes mulder pout.
Awesome!
mustard-do you think everyones metabolism or neural network works the same as yours? full spectrum color does not preclude feelings for me.
I think the reason for your feelings comes from the fact that full spectra a traditionally presented in a white or black context. White and black have always been the saviors of painting. The same applies to monochromism. Without white or black there will be insanity.
and if your head explodes
zipthwung-why all this fluke crap. First of all they are trematodes. It is also funny that they choose the ant as an intermediate host. Very telling. But at the end there are just internal leeches, nothing more. So why not paint leeches. It saves you the work to cut through deer intestines to get your model. In Anrathers work there is nothing of a fluke. Flukes don't propagate in dead meet.
A tube within a tube man, nematodes. Totally tubular! Dig?
urbane!
Beulah Park is a community of about 1500 residents, in the nineteenth century inner ring of Adelaide suburbs. For reasons lost in the mists of history it forms part of the middle-class municipality of Burnside, whose ‘Stockbroker Tudor’ pretensions make it an unlikely context for experiments in urban ecological sustainability.
ur-bane. don't ever change.
shrinks are beautiful people. i have sold more paintings to shrinks than any other profession. lawyers next. OK they have too much money. this summer i sold a painting to an art history professor. for some reason, that sale frightened me.
I saw Anrather's show in person which is very different from the view on my computer screen -it always is. The paintings' merits are that they're sloppy, lush, sexy, queer, haunting and reveal a world of their own. I'm not one hundred percent sure which "world" they are. They're complicated. For a while they looked playful then they looked haunting then sexy. They seduced me into wanting to ride along to see what they would change into next. If they remind me of anyone's work it's the photographer Julia Margaret Cameron for their dreaminess and oblique sexuality. There is one painting in the show that has a woman's face in it that is very much an Odalise - it's not an homage - I just mean that it is a woman who allows you to watch her, but not all of her. That's how all of the paintings are here they're shadowy glimpses into another world. And the paint handling is beautiful. Oh la la.
yeah, thanks for the perspective
Im having a spot of tea.
sunday video
forgot its saturday--feels like sunday
I love these. They remind me of Munch and Klimt which is kind of obvious but a part of the appeal. I would have liked the show more if it had been hung academy style- they seem sort of uncentered and scenic but were hung like standard easel paintings.
Uh yeah OK they are both obvious influences on this artist. More obvious than Redon mentioned above though I can see that too. I don't think the obvious historical influences are either derivative or kitch, No more derivative than what Jerry Saltz calls " seventh generation School of Paris" which I get the impression is your taste Peeps. I'm planning to get a job teaching 2D design down the hall from you Peeps. We can read Marilyn French together in the lunchroom and you can teach me jackshit about "push and pull" or whatever it was artists cared about back in the days wen you guys painted by candlelight and wore gorilla masks. I'll bring you some bananas and a nice paint splattered smock and a beret.
I can see what Kelli is getting at. 'Remind' and 'look like' are different associations. There's something about the fluid movement in the composition of Anrather’s forms which could bring Munch to mind. Munch shapes are more rounded at the corners. Anrather’s are sharper because of the prominent brushwork but the way the forms move across the picture space in a curvilinear fashion could spark an association.
Klimt made a number of landscapes with repetitive floral elements, they form more of a pattern than Anrather’s do but I can see the association. I had a similar association with Redon, I didn’t mean they ‘looked like’ Redon, just that somehow I made that connection, reminded me.
Kelli ouch... Peeps you got served up some crow with a side of humble pie,
which is on the menu in every republican houshold this week. I here the price of crow has gone up per pound...
I can see the Klimt associations, however not seeing these in person puts me at a disadvantage, I also see the Redon and I kept thinking of Stephan Campbell, don't know why but I guess its the wood scenes.
They do have a kitchyness and after looking again I like the dark ones better that the light fluffy Disneyish ones.
Pdog I am sooooo happy about the elections. Best wishes to you and everybody who voted (either way they chose).
Yes, me too.
It's a political sea change,
and time for a see change
No... Mr.Peeps is right... it does not look influenced by Klimt or Munch and most assuredly not "obviously" influenced by Klimt or Munch. Kelli, you are way, way off. Me thinks it's a much more subtle brew of Cecily and Laura....Symbolist Redon makes more sense as does Pre-Raphaelite painting.
I here here crow is whats for diner in the white house this thanksgiving....
Check out her earlier more figurative work
www.31grand.com/artists/goosewalking.html
www.31grand.com/artists/sadwaters.html
I like these, they seem less kitchy and seem like they have more solidity.
wow--do those 2 that kelli linked to just about prove that the female gaze is the same as the male gaze? They reek of late Picabia. Like em.
Klimpt is right. TOne if not style. Kitch is right. 31 Grand has some kind of mission. Seasonings. Tea Room. THey still remind me of murals - maybe because a lot of restaurants have kitchy murals to aid the gustatory experience. Heaven where art thou.
I saw this show "Semina Culture" (Beat cultural connections) this weekend, and listened to the poetry reading by DiPrima, McClure and Meltzer. Great exhibit. Timeless-which I think means it appeals to young and old. Anyway, lots of yooth at the reading along with the usual greyhairs. Why not cuz the poetry is gushing with life...
OH EASE OH BODY STRAIN OH LOVE OH EASE ME NOT!
WOUND-BORE
be real, show organs, show blood, OH let me
be as a flower. Let ugliness arise without care
grow side by side with beauty. Oh twist
be real to me. Fly smoke! Meat-real, as nerves
TENDON
Ion, FLAME, Muscle, not banners but bulks as
we are all "deer"
and move as beasts. Stalking in our forest
as these are speech words!
Burn them pure as above they rise from attitude are
stultified. Are shit. Burn
what arises from habit. Let custom
die. Smash patterns and forms let spirit
free to blasting liberty. Smash the
habit shit above! ! ! ! ! ! ! ! !
LET PURE BLACK WORDS MOVE FROM THOUGHT BEHIND
excelente!!!
y muy buen blog!
Wow, I cannot believe how many strong (and many negative) comments this painting has stimulated. I love this painter's work. someone else mentioned smelling the forest, I agree. This painting leads to synesthesia for me. she has created such a realised world. I can smell the damp and feel leaves brushing against me. This painting actually reminds me of Franz Marc--it's like the deer and the air and the plants and earth are melding together yet still retain their "deerness" or "plantness" or whatever. I think this painting is very sophisticated. And the use of colour is stunning.
Post a Comment