She makes beautiful paintings. I agree about the price, a Lois Dodd can be less. But with the market is on a bizarre trip, who knows anymore, good for her.
I could see these paintings displayed in a corny realist gallery also, yet they are at 303 presented as conceptual painting, that's good for her, I'm not discrediting the artsist-but I really don't understand how some works get relegated to that other category and somehow this floats to 303, Klagsburn, Paley Interim, etc.
Because this could be in those corny places, but it's not therefore it is given heavier consideration. Weird, the art world is so effing weird.
According to Artner from the Chicago Tribune, they are about the emotional impact of form in painting (as opposed to photography). They are landscapes and still lives made to decorate the wall of a more artistically conservative New England home. As for 'conceptual rigor', I'm hesitant to agree without some comment from the artist..no interviews on the gallery site. A concept is impossible to know unless it's stated. They might make 50 bucks on eBay if she's lucky.
They are fabulous in their simplicity of color, form, & perspective IN PERSON. Try to copy and you'll fail every time. Timeless, elegant, complicated, tight but they breathe.... worth every penny.
wow. I was bowled over by this show. Weebles wobble but they dont fall down.
Joseph Beuys was asked if he was like the sculptor Phillip "painting is just an attitude" Morris, and he said well there are similarities but who can tell what the other dude has in the rabbit hole. Or maybe it was clown torture. Isn't it allways? We are all just five card studs. WODEN you want to know. All I know is 303 serves a good frosty one, with attitude.
I was gassing on about fractal this and fractal that - I even noticed fiona rae had a fractal as a sign in a painting.
Very similar artists in a zen way, though who can tell. Ohelen too. what ya call urban sophistocates?
Fractals have this deal where theres a self similarity. Simultaneously. Simultanaeity.
Say you are Lost on a Highway. You break down and call AAA - but they take forever because every mile they travel on winding road is an earth day because the highway keeps scaling up and up and up like some kind of overheated market hell tour de france fractal.
Thats called coded repetition. Bell labs and the interweb love that shit. Error checking. Communication theory. In art its called being part of the conversation. 10-4?
Thats why Im reading like five books at the same time for about five minutes at a time (Cuz its lonely on the long distance pot - Im eating a lot of eggs)
Which is to reefer parenthetically to self referential reflexivity and then move on to the idea of work as a bourgeoise value, meaning necessary, but only to eke out a living and self respect in this barren rockworld of the real.
This work isnt working, but we are all in dire straits.
Why take pot shots at a wooden duck?
Well look at Mandelbort again. He vanity pressed his own book. rubbed a lot of people in a lot of fields the wrong way. He was just an intellectual tourist and didnt have "ownership" of the "ideas". People laughed at him and called him crazy.
Whistler too. People said "I work an honest day and I want an honest deal" and "Built ford tough"
Not my idea of a good time, but its real. More real than these paintings.
Which makes these paintings a good illusion.
"Get it? Got it? Good".
303 has a dream, and awesome dream, and here I am lionizing the ritchies, and for what? A postage stamp? We're on a snowy road to nowhere.
SB: I think that area between the sound made and the musical instrument played, where as I said I think gods dance, demons, angels, ghosts, things of the spirit, or what we ordinarily call things of the imagination in this presumptuous time, is the richest land for the arts. I think it's home base for the arts really. I mean, people have so much trouble deciding between the terms actuality and imagination, and I think this in-between area is just where the artist manages to make actuality, through his or her imagination, reality for everyone else. I love that story of the painter Whistler, who some young lady commented to him, 'Isn't the sunset beautiful?' And he immediately replied, 'Yes - nature is catching up.' What he really meant of course was that she wasn't aware that it was centuries of people painting sunsets that made her or any human being aware of it, maybe, at all.
i dig the one with a rainbow, hopperish nice game play with stormy midtones gradient in all, the intimate scaled squarish pieces hit the anti-hipster-salon in a way De Keyser missed. i guess kilimnik was at the 303 opening ... it was post philips champagne auction opening staring one of her more less interesting works.
Uup, these are good. I have seen them before & I thot maybe downhill--but no. These are very good. Like late Whistler. The cigar box top ones are hard to find on google.
i love this this is effin fantastic i wish they were selling for 40 billion dollars and giving everyone the spins till they choked. Its seems like it would be easier to to sell and promote a a fiona type painting than this stuff so damn good for her...
these are legitimized by their suburban context and the allusions to memory in the context of childhood suburbia. Thats their key to slacker acceptance. Something about her play with light and space in relation to remembered photographs seem to set them apart from realist sunday painter stuff. Shes also real geniune and cool in person, if that helps. I think the one of the kid playing a guitar is pretty succesful...I dont know about this one standing on its own though. By the way Eric Fischl invented suburbia. discuss
I like it in the same way I like Luc Tuymans. It feels like there's something going on under the white. It also reminds me of Cy Twombly. The variety in the white area is enough of a reason to like it. Also, it seems to cut through bullshit to a kind of naive but age-aware memory of something simple and chalky. The white pot looks like it's made out of cold milk. It's hard to admit liking it, because it's so close to being completely generic, but for some mysterious reason, it's just not. I could give a rat's ass about the price. Art should be valued.
i've always liked to think of Gallace as a painter more akin to Albert York than any other reference. A painter so far deep into solipsism that not even that talk of art, the market, conceptual relevance, etc,.,. can reduce the feeling of Grace eminating from these works (i'm borrowing from Protestantism's definition of Grace). It''s the kind of solipsism that has, so far, spared painting from the wrath of art. A kind of grace. This feeling I get from certain works, gallace, york, etc, It has less to do with art and more to do with a thing on ebay, yes, and with a sort of discussion one might privately have with a thing, once one acquires it and hangs it in their room --
exempt from judgement.
Tuymans doesn't offer that kind of exchange. His discussion is public. Art's discussion is public. I think painting has an extraorinary propensity to reveal a kind of discussion that is inherently private, and exempt from art... I think Gallace is one out of a handful in the public sphere that can recognize this and exploit this while remaining within the realm of art.
We live in a time of epoch breaking vigilance: There are those who, with full-force-pledge, are bent on deconstructing everything and everything-- that has ever been. And, closer to home, who, with a certain decorum and serendipity, play, wait and play, behind the scenes. This is the 'art of war', part self-serving part utopian--each the embodiment of conflict and a stratagem to retain position where weaknesses imagined are turned into a strength--the inward and the outward at loggerhead.
I like these images, they don't present a problem, they manage it, in a way, 'as if', there was no problem at all--I agree with most of the comments and their inherent conflicts.
notes on these paintings: truer than a lot of stuff I've seen, Morisot meets Lundeberg, good sense of color harmony, veering on the formulaic, anonymity of objects like Cezanne, very pleasing to look at, thus the popular appeal, watercolors seem a lot weaker.
Gallace is a beautiful woman anda true intellectual.....that doesn't make the paintings look any less like those of an earnest and wealthy Cape Cod widow with and"important" Chinese snuff bottle collection... and earth shoes. I don't like to look at them. But then I also don't get the solemn reverence around the mention of Morandi either.
Seeing these in person I got so much from them in a way I could not just looking at the images, they are the most buttery paintings ever, the colors made me feel very-food comparison-full. All buttery inside, like a high quality croissant drenched in butter and made me want to paint using a more glossy medium on board. Just for the fun of it.
She said something like- " we are all smart, why not just make what matters to you" I took that to mean stop worrying and just say what you want which was sometimes difficult at Cooper. Some of the advice which sticks with me. Corny only if you're corny.
31 comments:
Maureen Gallace @
303 Gallery
525 West 22nd Street
New York, NY 10011
She makes beautiful paintings. I agree about the price, a Lois Dodd can be less. But with the market is on a bizarre trip, who knows anymore, good for her.
I could see these paintings displayed in a corny realist gallery also, yet they are at 303 presented as conceptual painting, that's good for her, I'm not discrediting the artsist-but I really don't understand how some works get relegated to that other category and somehow this floats to 303, Klagsburn, Paley Interim, etc.
Because this could be in those corny places, but it's not therefore it is given heavier consideration. Weird, the art world is so effing weird.
According to Artner from the Chicago Tribune, they are about the emotional impact of form in painting (as opposed to photography). They are landscapes and still lives made to decorate the wall of a more artistically conservative New England home. As for 'conceptual rigor', I'm hesitant to agree without some comment from the artist..no interviews on the gallery site. A concept is impossible to know unless it's stated. They might make 50 bucks on eBay if she's lucky.
They are fabulous in their simplicity of color, form, & perspective IN PERSON. Try to copy and you'll fail every time. Timeless, elegant, complicated, tight but they breathe.... worth every penny.
wow. I was bowled over by this show. Weebles wobble but they dont fall down.
Joseph Beuys was asked if he was like the sculptor Phillip "painting is just an attitude" Morris, and he said well there are similarities but who can tell what the other dude has in the rabbit hole. Or maybe it was clown torture. Isn't it allways? We are all just five card studs. WODEN you want to know. All I know is 303 serves a good frosty one, with attitude.
I was gassing on about fractal this and fractal that - I even noticed fiona rae had a fractal as a sign in a painting.
Very similar artists in a zen way, though who can tell. Ohelen too. what ya call urban sophistocates?
Fractals have this deal where theres a self similarity. Simultaneously. Simultanaeity.
Say you are Lost on a Highway. You break down and call AAA - but they take forever because every mile they travel on winding road is an earth day because the highway keeps scaling up and up and up like some kind of overheated market hell tour de france fractal.
Thats called coded repetition. Bell labs and the interweb love that shit. Error checking. Communication theory. In art its called being part of the conversation. 10-4?
Thats why Im reading like five books at the same time for about five minutes at a time (Cuz its lonely on the long distance pot - Im eating a lot of eggs)
Which is to reefer parenthetically to self referential reflexivity and then move on to the idea of work as a bourgeoise value, meaning necessary, but only to eke out a living and self respect in this barren rockworld of the real.
This work isnt working, but we are all in dire straits.
Why take pot shots at a wooden duck?
Well look at Mandelbort again. He vanity pressed his own book. rubbed a lot of people in a lot of fields the wrong way. He was just an intellectual tourist and didnt have "ownership" of the "ideas". People laughed at him and called him crazy.
Whistler too. People said "I work an honest day and I want an honest deal" and "Built ford tough"
Not my idea of a good time, but its real. More real than these paintings.
Which makes these paintings a good illusion.
"Get it? Got it? Good".
303 has a dream, and awesome dream, and here I am lionizing the ritchies, and for what? A postage stamp? We're on a snowy road to nowhere.
skill nudge feature
Tilt.
war of the worlds bro!
SB: I think that area between the sound made and the musical instrument played, where as I said I think gods dance, demons, angels, ghosts, things of the spirit, or what we ordinarily call things of the imagination in this presumptuous time, is the richest land for the arts. I think it's home base for the arts really. I mean, people have so much trouble deciding between the terms actuality and imagination, and I think this in-between area is just where the artist manages to make actuality, through his or her imagination, reality for everyone else. I love that story of the painter Whistler, who some young lady commented to him, 'Isn't the sunset beautiful?' And he immediately replied, 'Yes - nature is catching up.' What he really meant of course was that she wasn't aware that it was centuries of people painting sunsets that made her or any human being aware of it, maybe, at all.
Closeuup--it's kind of a Spinal Tap thing. A missspelling on purpose. There now all the fun is gone.
My quote/comment from Stan Brakhage was about Whistler--who is famous for pissing people off--because he showed them something in a new way?
How can you say that Fiona is cynical--as if in the curent cultural minestrone anyone could not be a little cynical. I appreciate that in her work.
Gallace is only as good as her strokes. And Im not crazy about snow
i dig the one with a rainbow, hopperish nice game play with stormy midtones gradient in all, the intimate scaled squarish pieces hit the anti-hipster-salon in a way De Keyser missed.
i guess kilimnik was at the 303 opening ... it was post philips champagne auction opening staring one of her more less interesting works.
Uup, these are good. I have seen them before & I thot maybe downhill--but no. These are very good. Like late Whistler. The cigar box top ones are hard to find on google.
i love this
this is effin fantastic
i wish they were selling for 40 billion dollars and giving everyone the spins till they choked. Its seems like it would be easier to to sell and promote a a fiona type painting than this stuff so damn good for her...
"gameing" or "play" need not be cynical.
these are legitimized by their suburban context and the allusions to memory in the context of childhood suburbia. Thats their key to slacker acceptance. Something about her play with light and space in relation to remembered photographs seem to set them apart from realist sunday painter stuff. Shes also real geniune and cool in person, if that helps. I think the one of the kid playing a guitar is pretty succesful...I dont know about this one standing on its own though. By the way Eric Fischl invented suburbia. discuss
i don't feel cynical - guarded but not cynical...
yeah wheres the f'n deer?
The 7-11 reference?
Fuck heineken, pabst blue ribbon.
im cynical about life, not art.
I like it in the same way I like Luc Tuymans. It feels like there's something going on under the white. It also reminds me of Cy Twombly. The variety in the white area is enough of a reason to like it. Also, it seems to cut through bullshit to a kind of naive but age-aware memory of something simple and chalky. The white pot looks like it's made out of cold milk. It's hard to admit liking it, because it's so close to being completely generic, but for some mysterious reason, it's just not. I could give a rat's ass about the price. Art should be valued.
cookie:
bill owens
robert bechtle
richard hamilton?
i've always liked to think of Gallace
as a painter more akin to Albert York
than any other reference. A painter so far deep into
solipsism that not even that talk
of art, the market, conceptual relevance,
etc,.,. can reduce the feeling of Grace
eminating from these works (i'm borrowing
from Protestantism's definition of Grace).
It''s the kind of solipsism that has, so
far, spared painting from the wrath of art.
A kind of grace. This feeling I get from
certain works, gallace, york, etc, It has less to
do with art and more to do with
a thing on ebay, yes, and with a sort of discussion
one might privately have with a thing, once
one acquires it and hangs it in their room --
exempt from judgement.
Tuymans doesn't offer that kind of exchange.
His discussion is public. Art's discussion is
public. I think painting has an extraorinary
propensity to reveal a kind of discussion that is
inherently private, and exempt from art...
I think Gallace is one out of a handful in the
public sphere that can recognize this and exploit
this while remaining within the realm of art.
CHERYL KAPLAN: Sleepwalker, painted in 1979, was incredibly shocking at the time. It launched suburbia as a genre.
diddy:"we invented the remix"
We live in a time of epoch breaking vigilance: There are those who, with full-force-pledge, are bent on deconstructing everything and everything-- that has ever been. And, closer to home, who, with a certain decorum and serendipity, play, wait and play, behind the scenes. This is the 'art of war', part self-serving part utopian--each the embodiment of conflict and a stratagem to retain position where weaknesses imagined are turned into a strength--the inward and the outward at loggerhead.
I like these images, they don't present a problem, they manage it, in a way, 'as if', there was no problem at all--I agree with most of the comments and their inherent conflicts.
http://artofwar.thetao.info/images/suntzus.jpg
notes on these paintings:
truer than a lot of stuff I've seen, Morisot meets Lundeberg, good sense of color harmony, veering on the formulaic, anonymity of objects like Cezanne,
very pleasing to look at, thus the popular appeal, watercolors seem a lot weaker.
diddy meet king tubby. as if
but cookie. it doesnt matter does it? who's the first?
carla, glad to be of use.
Gallace is a beautiful woman anda true intellectual.....that doesn't make the paintings look any less like those of an earnest and wealthy Cape Cod widow with and"important" Chinese snuff bottle collection... and earth shoes. I don't like to look at them. But then I also don't get the solemn reverence around the mention of Morandi either.
Seeing these in person I got so much from them in a way I could not just looking at the images, they are the most buttery paintings ever, the colors made me feel very-food comparison-full. All buttery inside, like a high quality croissant drenched in butter and made me want to paint using a more glossy medium on board. Just for the fun of it.
buttery? You must be used to rice cakes. The easter egg colors made me wish peter beatrix potter would take a hoe to my frontal lobe.
She said something like- " we are all smart, why not just make what matters to you" I took that to mean stop worrying and just say what you want which was sometimes difficult at Cooper. Some of the advice which sticks with me. Corny only if you're corny.
Peter Rabbit would never do that to you Zip, but he may leave a few pellets behind.
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