The image is dead. The icon is dead. The painting is dead. - Patricia Cronin
Keep everything on the surface, even with the knowledge that the surface fades and can't be held together forever -- take advantage before the expiration date appears in the nearing distance. - Bret Easton Ellis, Imperial Bedrooms Read more »
"I think of the media as a cannibalistic river… that absorbs everything." Gretchen Bender
"The image is dead. The icon is dead. The painting is dead." Patricia Cronin
"I am a deeply superficial person." Andy Warhol Read more »
Angela Dufresne was born in Connecticut and grew up in Kansas. She studied painting and video at the Kansas City Art Institute and painting at Tyler School of Art. She did residencies at the Fine Arts Work Center in Provincetown in 2002–2004 and 2003–2004 and at Yaddo this year. She taught painting, and culture at large, in various places: Sarah Lawrence, Princeton University, and Rhode Island School of Design (RISD). Dufresne curated several show and video screenings nationally, including Portraiture for the Silicon Enlightenment: (Fuckheads); Negative Joy, a video screening at 443 PAS, New York; and Available, a show about still life at Monya Rowe Gallery. She has exhibited her work in various group shows in museums: The Aldrich Contemporary Art Museum, the Rose Museum, Mills College Art Museum, Richmond University Museum of Art, and MoMA PS1. She has also had various solo shows nationally and internationally: a project at the Hammer Museum in Los Angeles in 2006 and spontaneous shows at CRG Gallery and Monya Rowe Gallery in New York City in 2009 and 2012. Read more »
Korean native Jinju Lee paints existential narratives of making do and coming-to-terms in arduously solitary indoor and outdoor conditions. Lee’s stories have allegorical implications as the situations and environment she depicts with so much precision and clarity seem to have as to do with the mental as well as the territorial landscape in which the subject (or is it victim?) finds herself. Read more »
There is a nondescript, brick building at 97 Orchard Street. Without signs telling you what it is, you would most certainly walk by without giving it any notice, yet it possesses something so unique to New York and indicative of the city's individual essence that it could be argued that it represents the soil from which so much that is New York has sprouted. This is The Tenement Museum. Read more »
Elizabeth: This year has dumped a load of food, fine art, and complete confusion all at once; Hanukkah converged with Thanksgiving for the first time in years sending us all to the trough –- now the Miami Fairs and Santa are on the way. As an art shipper, I'm on a cheap holiday in other people's misery, as the Sex Pistols put it. At the VIP opening of Art Basel, Kate Gilmore caved to Miami sexist traditions and low-balled her performance piece by having the women and men, who smashed ruby colored metal cubes with sledgehammers, perform bare-chested! Really, girl? Read more »
“Must we learn again the simple, forthright experience of actually seeing a painting?” William Gaddis Read more »
Michael Williams: Paintings
The CANADA Gallery, NYC
Through December 8, 2013
INT. BELLYLAFFS COMEDY CLUB - EVENING
HOUSE BAND [Jay-Z/Kanye West]: I ball so hard muthafuckas wanna find me, first niggas gotta find me / Tha shit cray / Tha shit cray / Tha shit cray / Ain’t it, Jay?
SIDEKICK [Tracy Morgan]: Give it up for Jay-Z and Kanye West, Ladies and Gentlemen… and now, you have probably seen his recent special It Ain't Gonna Suck Itself [Applause]…Bellylaffs is pleased to present one white boy who really does ball hard…
HOST [James Franco] - enters stage right]: Thank you Tracy! Thank you! [Applause] Thank you! It’s true, I really do ball hard. Very hard. Mostly by myself… [Laughter/Applause]… Thank you…
HOST: So this guy, who has never been sick a day in his life, calls his boss. He says, "I can’t come in today, I’m sick." The boss says, "No problem, take the day off. I’m just curious, though, how sick are you?" The guy says, "I just fucked my sister!" Read more »
Like sugar-induced hyperactive children, David and I went to the only place where grownups ring doorbells to see art: The Upper East Side. Were we tricked? Yes. Were we treated? Yeah, that too. Read more »
Born in Chicago, Illinois, in 1970, Larry Krone was raised in St. Louis, Missouri, and now lives and works in New York City's East Village. He has been exhibiting his drawings, sculptures, installations, and videos since the early 1990s. Some of the museums he has exhibited at include the Whitney Museum of American Art Philip Morris Branch and the Contemporary Art Museum St. Louis, which in 2006 presented Larry Krone: Artist/Entertainer, a ten-year retrospective of Larry Krone's visual and performance work. Read more »
Children are innocent, we are told, existing in a state of unperturbed self-sufficiency and looking at the outside world with unlimited trust. They share this ideal condition with the objects of their affection, such as cats, dogs, or other pets. When disaster strikes and this peaceful existence is disturbed, some natural law seems to have been violated. As in much of contemporary horror, the shock effect of evil deeds and ghastly events is greatly enhanced if unleashed on the pure and simple in spirit or invading a seemingly picturesque locale and cheerful ordered communal life. The supposedly asexual and immaculate bodies of pre-pubescent children are the primary site of artist Bradley Rubenstein's investigations into the changing conceptions of identity and the state of ethical, social, and sexual attitudes today.
In his drawings and paintings these icons of innocence seem to have been subjected to experiments worthy of Dr. Moreau: a child with a clenched fist as head; amalgamations of two torsos and several exaggerated limbs or with cephalopod tentacles; and, again and again, adolescents engaging in strange unions with giant adult hands. The faceless configurations of human and animal forms are like defenseless victims, threatened by the grasp of the adult world and in constant danger of forever losing their blissful ignorance.
Rubenstein's human and animal composites are strangely lifeless, frozen in time like ancient monuments. Placed into melancholic isolation they have quietly resigned themselves to their fate, arrested in movement and lost in insurmountable loneliness. Either painted with dense layers of carbon, or carefully rendered in graphite and in black or sepia ink, the drawings approach the cold and distant observation of scientific illustrations, faithfully documenting rare anatomical specimens of deviations in nature. The artist deliberately distances himself from the explicit and loaded sexuality of the adult and, in particular, the violated female body, suppressing the projection of voyeuristic desire which, nevertheless is subliminally and disconcertingly manifest. Read more »