Painting Perceptions Interview Lois Dodd

Total Page:16

File Type:pdf, Size:1020Kb

Painting Perceptions Interview Lois Dodd Painting Perceptions commentary on perceptual painting Conversation with Lois Dodd March 5, 2015 by Larry Groff Lois Dodd has been painting her everyday surroundings for sixty years. Her current exhibition, from February 26 through April 4, 2015 at the Alexandre Gallery in NYC shows twenty-four recent small-scaled paintings that depict familiar motifs such as gardens, houses, interiors and views from windows. Dodd, now eighty-seven, is an iconic figure of the early New York Tenth Street art scene, along with her contemporaries, such as Alex Katz and Philip Pearlstein. The Alexandre Gallery has the current exhibition online as well as many earlier works for view that you can view from this link. The late painter Will Barnet talked about Lois Dodd in an interview with Barbara O’Brien. (From the Kemper Museum catalog, Lois Dodd Catching the Light) …”What she has is something that belongs to the language of painting that actually only a very few artists really understand and know about. She has that feeling that the flatness of the canvas, and the verticality or the horizontality has to be met in a certain dynamic way. And she can arrange her forms so that the verticals become alive in relationship to the horizontal. So there is a certain wedding of the two. And so her work has a structure that you miss in most painters. In other words, you have a feeling of solidity and that the forms really belong to each other, where they’re in the distance or in the front. They combine in such a way that they come together and form a whole picture, and that’s what is exciting about—one of the exciting things—Lois.” –Will Barnet With a career that spans six decades, Dodd is a member of the American Academy of Arts and Letters and the National Academy of Design, and a past member of the board of governors for the Skowhegan School of Painting and Sculpture. Among many honors, she recently was awarded the Benjamin West Clinedinist Memorial Medal in 2007 from the Artists’ Fellowship, Inc. and Cooper Union’s Augustus Saint-Gaudens Award for professional achievement in art in 2005. Her works can be found in museums, including the Portland Museum of Art, Maine and the Kemper Museum of Contemporary Art, Kansas City, Missouri, among others. The excellent catalog, Lois Dodd Catching the Light can be purchased from the Kemper Museum of Contemporary Art from this link. This catalog is from her Kemper Museum retrospective where more than fifty paintings were shown from 1955 to 2010. I wish to thank both Lois Dodd for agreeing to the phone conversation and for her time and thoughtfulness with answering my questions and to share her experience and ideas with our readers. I would also like to thank Elizabeth O’Reilly for the many ways she helped make this possible. Larry Groff: Do you spend a lot of time looking and thinking about the subject before you start to paint? Lois Dodd: It’s more about what I see when I’m walking around looking for something. Then after that it a matter of what size I want to work with and the proportion it will fit into. Then I try to isolate something that would make a good painting, a good subject. I look through my pile of gessoed panels that are different sizes and different proportions. They are all rectangles or squares and I always take a few of those when I go out so I have a variety of panels to choose from because that is the first decision. If you’re looking at something you want to paint and it looks exciting, the lighting is good and then you have to decide what size what shape of a panel will it fit onto; you ask yourself, is it a horizontal thing or vertical or square. Those are the first choices. LG: How do you start a painting? Do you make studies or thumbnails first? Do you use a viewfinder of some sort? LOIS DODD: I don’t really use a viewfinder but I can put my hands up to frame the view or something like that. I don’t make thumbnail sketches, I’m more interested in starting right on the panel. I start with thinned out yellow paint and draw with the brush. So it’s pretty minimal, general and not tight. You asked me if I scrape off, I don’t use a scraper but I don’t use heavy paint either I really paint rather thinly so we never get to the point where I can scrape. But if I don’t like what I’ve done I can rub it off with a rag with turpentine and rub it all around and then I have a nice colored ground to work into that I can use. LG: When you find the motif that interests you; do you form the composition in your mind before you start? Or is it something that evolves from your prolonged looking at the thing? LOIS DODD: I do see a geometric breakdown of space of the rectangle so it has an underlying geometric structure so that is pretty basic to what I’m looking at. LG: but the rest of it: the color scheme, the mood, the positions of things; they sort of evolve? LOIS DODD: No, the position of things, that configuration, is what attracts me and what I find exciting to begin with, so I don’t move things around. They’re either already where I want them or I might get up and move my chair and easel, it might be a little better a couple feet this way or that way. What I’m looking at more or less dictates the composition. I don’t really take any liberties with the subject, if it’s no good to begin with, that’s it. LG: Do you measure things to get everything right in terms of the relationships between things? LOIS DODD: No, Did you see that film about that painter in Madrid, Antonio Lopez Garcia? Speaking of measuring? LG: Victor Erice’s Dream of Light http://en.wikipedia.org/wiki/Dream_of_Light LOIS DODD: Yes, do you remember where he’s standing in front of the tree and marking where his feet are going to be and where the leaves are and all of that? I’m certainly not doing that but I’ll move few inches this way or that before I start if I don’t like what I’m getting at. Standing or sitting down makes a big difference too. Once my position is set it’s usually fine. LG: So it isn’t as important for you to pursue getting the underlying grid of horizontal and vertical geometric relationships? Is it more that you want to get the overall feeling or pictorial expression of the thing you first saw, your first impression of why you were attracted to the motif? LOIS DODD: Yes. It’s the way the light is hitting the subject and is creating the composition. The big thing is my paintings are done in one sitting; partly because of the light and partly because of the weather. I can only be there a couple of hours because after that the light changes the whole composition. The sun will have moved and everything is different in two or three hours so my paintings needs to be done in that time. LG: Do you use larger brushes and smooth surfaces so you can work quickly and broadly? LOIS DODD: My panels are up to 15 by 20 inches or smaller panels that are 12 by 18 or 12 by 12. I have a whole pile of gessoed panels, they’re not huge, 20 inches is largest I would go, as larger Masonite panels tend to warp or be weird. They aren’t reliable when they get too big. Once the painting is bigger I paint on linen. LG: You also work on aluminum panels? LOIS DODD: The little tiny ones are aluminum step flashing that you can get in the hardware store. LG: Step flashing? I’m not familiar with that. LOIS DODD: Step flashing is for putting flashing down the bottom of a chimney where it goes under the roofing material to keep water out. That’s what they’re made for and they come in these really small sizes. You can buy big bundles of the stuff for very little money. LG: What a great idea! Do you gesso these? LOIS DODD: It’s a very good idea. I sand them like mad because I think they’re too smooth and then I gesso them. LG: What kind of gesso do you use? LOIS DODD: I use Liquitex usually. Step Flashings are very convenient when you see something and you’ve got 20 minutes. I do a lot of them at night when the moon is full. LG: You must simplify things a great deal to get everything in one sitting. LOIS DODD: Of course, I’m not looking for details or surface description that’s for sure. But I am looking for the light, how it hits volumes. I am looking for the light and the color. LG: Is what you’re looking at the main concern or do you also think about how other art might relate to your scene? For instance, if you were painting a scene and thought ‘this reminds me of an Arthur Dove painting’ or someone like that would you ever push it in that direction a little? Or does all that great art history in your head come through more intuitively? LOIS DODD: I think so, sometimes you see things that are like somebody else’s painting so you stay away from it.
Recommended publications
  • Modernism 1 Modernism
    Modernism 1 Modernism Modernism, in its broadest definition, is modern thought, character, or practice. More specifically, the term describes the modernist movement, its set of cultural tendencies and array of associated cultural movements, originally arising from wide-scale and far-reaching changes to Western society in the late 19th and early 20th centuries. Modernism was a revolt against the conservative values of realism.[2] [3] [4] Arguably the most paradigmatic motive of modernism is the rejection of tradition and its reprise, incorporation, rewriting, recapitulation, revision and parody in new forms.[5] [6] [7] Modernism rejected the lingering certainty of Enlightenment thinking and also rejected the existence of a compassionate, all-powerful Creator God.[8] [9] In general, the term modernism encompasses the activities and output of those who felt the "traditional" forms of art, architecture, literature, religious faith, social organization and daily life were becoming outdated in the new economic, social, and political conditions of an Hans Hofmann, "The Gate", 1959–1960, emerging fully industrialized world. The poet Ezra Pound's 1934 collection: Solomon R. Guggenheim Museum. injunction to "Make it new!" was paradigmatic of the movement's Hofmann was renowned not only as an artist but approach towards the obsolete. Another paradigmatic exhortation was also as a teacher of art, and a modernist theorist articulated by philosopher and composer Theodor Adorno, who, in the both in his native Germany and later in the U.S. During the 1930s in New York and California he 1940s, challenged conventional surface coherence and appearance of introduced modernism and modernist theories to [10] harmony typical of the rationality of Enlightenment thinking.
    [Show full text]
  • Philip Pearlstein
    PHILIP PEARLSTEIN 1924 Born in Pittsburgh, PA on May 24 1942-49 B.F.A. from Carnegie Institute of Technology, Pittsburgh, PA 1955 M.A. from New York University, Institute of Fine Arts, New York, NY 1959-63 Instructor, Pratt Institute, Brooklyn, NY 1962-63 Visiting Critic, Yale University, New Haven, CT 1963-88 Professor of Fine Art, Brooklyn College, Brooklyn, NY 1988 Distinguished Professor Emeritus, Brooklyn College, Brooklyn, NY 2003-06 President, American Academy of Arts and Letters, New York, NY The artist lives and works in New York City. Solo Exhibitions 2018 Philip Pearlstein, Today, Betty Cuningham Gallery, New York, May 10 – June 17 Philip Pearlstein, Paintings 1990- 2017, Saatchi Gallery, London, United Kingdom, January 17 – April 29 2017 Facing You, Betty Cuningham Gallery, New York, May 5 – June 30 Philip Pearlstein: Seventy –Five Years of Painting, Susquehanna Museum of Art, Harrisburg, PA, February 11 – May 21 2016 G.I. Philip Pearlstein, World War II Captured on Paper, Betty Cuningham Gallery, New York, September 14 – October 15 2015-16 Pearlstein | Warhol | Cantor: From Carnegie Tech to New YorK, Betty Cuningham Gallery, New York, NY, Dec. 3 – March 5, 2016 2015 Pearlstein | Warhol | Cantor : From Pittsburgh to New YorK, Andy Warhol Museum, Pittsburgh, PA May 30- September 6 2014 Philip Pearlstein, Betty Cuningham Gallery, New York, NY, May 8 – July 27 Pearlstein at 90, Russell Bowman Art Advisory, Chicago, IL, April 4 – May 31 Philip Pearlstein: Six Paintings, Six Decades, National Academy of Art, New York, NY, Feb. 27 – May 11 Philip Pearlstein – Just The Facts, 50 Years of Looking and Drawing and Painting, Curated by Robert Storr, New York Studio School, New York, NY, January 16 – February 22 2013 Philip Pearlstein’s People, Places, Things, Museum of Fine Arts, St.
    [Show full text]
  • Interview with Philip Pearlstein Studio International by Janet Mckenzie
    Interview with Philip Pearlstein Studio International By Janet McKenzie Philip Pearlstein is one of the most important artists of the twentieth century who worked in an abstract expressionist style before shifting to large-scale formalist nudes constructed theatrically with a range of props from merry-go- round horses to the Eames chair. Pearlstein turns 92 this month yet he continues to work on large scale paintings where the nude figure is juxtaposed with a diverse range of objects: from crashed model aeroplanes to marionettes, a model of the White House that is in fact a birdcage, and richly patterned rugs and fabrics. A sense of enigmatic drama is created, perhaps alluding to the anachronistic nature of human existence, to the disconnect that exists between an individual and war and politics in the wider world. Pearlstein studied with Andy Warhol at the Carnegie Institute in Pittsburgh after the war spent in Italy; they travelled together with Pearlstein’s future wife, Dorothy Cantor, also an art student, to New York where Pearlstein studied art history at New York University with Erwin Panofsky. His career has been hugely influential whilst consistently pursuing an independent path for over 60 years. In the lead up to a new exhibition of 170 of his wartime drawings, at the Betty Cuningham Gallery in New York, next month, Pearlstein speaks at length about his remarkable career. Janet McKenzie: You have been an active and productive artist for over 60 years, and so your career has taken place through numerous significant art world changes where you have played an important role.
    [Show full text]
  • Not for the Uncommitted: the Alliance of Figurative Artists, 1969–1975 By
    Not for the Uncommitted: The Alliance of Figurative Artists, 1969–1975 By Emily D. Markert Submitted in partial fulfillment of the requirements for the degree Master of Arts in Curatorial Practice California College of the Arts April 22, 2021 Not for the Uncommitted: The Alliance of Figurative Artists, 1969–1975 Emily Markert California College of the Arts 2021 From 1969 through the early 1980s, hundreds of working artists gathered on Manhattan’s Lower East Side every Friday at meetings of the Alliance of Figurative Artists. The art historical canon overlooks figurative art from this period by focusing on a linear progression of modernism towards medium specificity. However, figurative painters persisted on the periphery of the New York art world. The size and scope of the Alliance and the interests of the artists involved expose the popular narrative of these generative decades in American art history to be a partial one promulgated by a few powerful art critics and curators. This exploration of the early years of the Alliance is divided into three parts: examining the group’s structure and the varied yet cohesive interests of eleven key artists; situating the Alliance within the contemporary New York arts landscape; and highlighting the contributions women artists made to the Alliance. Keywords: Post-war American art, figurative painting, realism, artist-run galleries, exhibitions history, feminist art history, second-wave feminism Acknowledgments and Dedication I would foremost like to thank the members of my thesis committee for their support and guidance. I am grateful to Jez Flores-García, my thesis advisor, for encouraging rigorous and thoughtful research and for always making time to discuss my ideas and questions.
    [Show full text]
  • Beer with a Painter: Catherine Murphy by Jennifer Samet – 2 August 2014
    Beer with a Painter: Catherine Murphy By Jennifer Samet – 2 August 2014 Catherine Murphy, “Persimmon” (1991) oil on canvas 25 3/4 x 29 1/2 inches When I arrived at Catherine Murphy’s home in Poughkeepsie, New York, I was led down a long outdoor path to her studio. Murphy was working on a painting of a pie crust; she asked her assistant to put the dough on ice while she spoke with me. I looked around her studio, where curtains blocked the daylight from the windows, at other props: a branch hung from a corner of the ceiling, a mound of elaborately broken plates was the set-up for another painting, a mannequin slouched on a chair, and stuffed squirrels rested on a table. Once Murphy and I started talking, we didn’t get up from our chairs. After a couple of hours of conversation, I opened the studio door. I found my eyes blinking in the sunlight – reminded that we were in the midst of a lush landscape, suddenly noticing the flowering plants lining the path. We walked back to the patio for aranciatas with her husband, the sculptor Harry Roseman, while I let the air and the sound of birds wash over me. There had been a buzz of intensity to Murphy’s studio, with its windows blacked out; it felt warm and slightly claustrophobic. Although Murphy works from observation, hers are not scenic paintings. Her subjects include a garden hose and a garter snake curled on the grass, black garbage bags in the snow, pages from a coloring book, knots in wood, the edge of a chair marred by a cat’s scratches.
    [Show full text]
  • Art Review: 'Pearlstein, Warhol, Cantor,' an Exhibition of Pittsburgh Greats, Is Full of Surprises August 23, 2015 12:00 AM by Mary Thomas / Pittsburgh Post­Gazette
    9/11/2015 Art & Architecture ­ Pittsburgh Post­Gazette Art review: 'Pearlstein, Warhol, Cantor,' an exhibition of Pittsburgh greats, is full of surprises August 23, 2015 12:00 AM By Mary Thomas / Pittsburgh Post­Gazette “Pearlstein, Warhol, Cantor: From Pittsburgh to New York” at The Andy Warhol Museum feels a bit like a family gathering where you learn things about your relatives you hadn’t heard before. It’s a rare look into the career beginnings of two talented young artists who achieved considerable success in both commercial and fine arts, and an opportunity to discover another who later chose to apply her talents elsewhere. Philip Pearlstein, Andrew Warhola and Dorothy Cantor were Pittsburgh natives who met at Carnegie Tech (now Carnegie ’Pearlstein, Warhol, Cantor: From Pittsburgh to New York Mellon University). They developed a friendship that Where: The Andy Warhol Museum, 117 continued after graduation, when they moved to New York Sandusky St., North Side. When: Through Sept. 6, 10 a.m. to 5 City, where Mr. Pearlstein and Mr. Warhola shared an p.m. Tuesdays through Sundays and apartment and he changed his name to Andy Warhol. Mr. until 10 p.m. Fridays. Admission: $20; children, students $10; Pearlstein and Ms. Cantor married in 1950 and Mr. Warhol half­price 5 to 10 p.m. Fridays; members, was a member of the wedding party. free. Information: 412­237­8300 or www.warhol.org. In light of the many books published and global shows mounted in recent decades, one might question whether there was anything new for this exhibition, and the answer is emphatically “yes.” Artworks and archival materials, including photographs, give insight into the artists’ formative years contextualized within cultural expectations of the time.
    [Show full text]
  • Exhibition Gazette (PDF)
    ARTIST-RUN GALLERIES IN NEW YORK CITY Inventing 1952–1965 Downtown JANUARY 10–APRIL 1, 2017 Grey Gazette, Vol. 16, No. 1 · Winter 2017 · Grey Art Gallery New York University 100 Washington Square East, NYC InventingDT_Gazette_9_625x13_12_09_2016_UG.indd 1 12/13/16 2:15 PM Danny Lyon, 79 Park Place, from the series The Destruction of Lower Manhattan, 1967. Courtesy the photographer and Magnum Photos Aldo Tambellini, We Are the Primitives of a New Era, from the Manifesto series, c. 1961. JOIN THE CONVERSATION @NYUGrey InventingDowntown # Aldo Tambellini Archive, Salem, Massachusetts This issue of the Grey Gazette is funded by the Oded Halahmy Endowment for the Arts; the Boris Lurie Art Foundation; the Foundation for the Arts. Inventing Downtown: Artist-Run Helen Frankenthaler Foundation; the Art Dealers Association Galleries in New York City, 1952–1965 is organized by the Grey Foundation; Ann Hatch; Arne and Milly Glimcher; The Cowles Art Gallery, New York University, and curated by Melissa Charitable Trust; and the Japan Foundation. The publication Rachleff. Its presentation is made possible in part by the is supported by a grant from Furthermore: a program of the generous support of the Terra Foundation for American Art; the J.M. Kaplan Fund. Additional support is provided by the Henry Luce Foundation; The Andy Warhol Foundation for the Grey Art Gallery’s Director’s Circle, Inter/National Council, and Visual Arts; the S. & J. Lurje Memorial Foundation; the National Friends; and the Abby Weed Grey Trust. GREY GAZETTE, VOL. 16, NO. 1, WINTER 2017 · PUBLISHED BY THE GREY ART GALLERY, NYU · 100 WASHINGTON SQUARE EAST, NYC 10003 · TEL.
    [Show full text]
  • Francis Picabia, Art-World Jailer: Philip Pearlstein on 'One of the Prime
    FRANCIS PICABIA, ART-WORLD JAILER: PHILIP PEARLSTEIN ON ‘ONE OF THE PRIME MOVERS OF MODERN ART,’ IN 1970 BY The Editors of ARTnews POSTED 11/18/16 4:04 PM 100 16 0 119 Francis Picabia, Je revois en souvenir ma chère Udnie (I See Again in Memory My Dear Udnie), 1914, oil on canvas. PHOTO: THE MUSEUM OF MODERN ART, JOHN WRONN; ART: ©2016 ARTISTS RIGHTS SOCIETY (ARS), NEW YORK AND ADAGP, PARIS/THE MUSEUM OF MODERN ART, NEW YORK, HILLMAN PERIODICALS FUND With the Museum of Modern Art in New York preparing to open a much- anticipated Francis Picabia retrospective on Monday, we turn back to the September 1970 issue of ARTnews, in which Philip Pearlstein wrote an essay about the artist. The Guggenheim Museum had staged a Picabia retrospective in that year (MoMA’s show, reviewed in these pages by Andrew Russeth, is the first the United States since then), and Pearlstein took this article as an opportunity to pen a love letter to the artist. Pearlstein’s piece follows in full below. For more articles about Picabia from the ARTnews archives, consult the Retrospective that appears in our Fall 2016 issue. “Hello and Goodbye, Francis Picabia” By Philip Pearlstein September 1970 Francis Picabia, Adam et Ève (Adam and Eve), 1911, oil on canvas. ©2016 ARTIST RIGHTS SOCIETY (ARS), NEW YORK AND ADAGP, PARIS/PRIVATE COLLECTION One of the prime movers of modern art is subject of a major retrospective at the Guggenheim; here an American painter tells how he first studied Picabia, felt liberated by his vanguard ideas, and finally rejected them Fifteen years ago, I completed a Master’s thesis on Francis Picabia.
    [Show full text]
  • Pearlstein, Warhol, Cantor: from Carnegie Tech to New York | the Brooklyn Rail
    2/3/2016 Pearlstein, Warhol, Cantor: From Carnegie Tech to New York | The Brooklyn Rail ArtSeen February 3rd, 2016 Pearlstein, Warhol, Cantor: From Carnegie Tech to New York by Ed Breslin BETTY CUNINGHAM GALLERY | DECEMBER 3, 2015 – MARCH 5, 2016 Pearlstein, Warhol, Cantor: From Carnegie Tech to New York,—featuring the work of three provocative artists—is as informative as it is pleasurable. As you enter the gallery you are faced with their ensemble photograph, taken on the front lawn of Pittsburgh’s Carnegie Tech in the late 1940s, the beginning of their lifelong friendship. Lining the wall in front of this photograph are early Pearlstein paintings: American Eagle, Dollar Sign, Portrait of Andy Warhol (a facsimile; the original is in the Whitney), Portrait of Dorothy, and I Had Blue Eyes, a Pearlstein self­portrait; all dated 1949 – 50. They show the importance of Surrealism and Abstract Expressionism on Pearlstein, dominant influences in his formative years that he later assimilated and abandoned in favor of writing his own pictorial grammar and defining his own painterly idiom. On the opposite wall, at the back, you will find a reproduction of Pearlstein’s Superman (1952)—a Dorothy Cantor, Curvements, 1953. Oil on canvas, 37 × precursor of Pop, like American Eagle and Dollar Sign, 41 1/4 inches. Courtesy Betty Cuningham Gallery. which may have served as early sources of inspiration for Warhol. Next to Superman is Pearlstein’s Merry­Go­Round, a painting that won him honors in a scholastic contest, was displayed in the Met, and was reproduced in color in Life magazine in 1941.
    [Show full text]
  • Philip Pearlstein: Seventy-Five Years of Painting at Susquehanna Art Museum
    For Immediate Release January 10, 2017 Philip Pearlstein: Seventy-Five Years of Painting at Susquehanna Art Museum Harrisburg, PA – The Susquehanna Art Museum announces an upcoming survey exhibition of paintings by internationally acclaimed master realist Philip Pearlstein (b. 1924, Pittsburgh, PA). This groundbreaking collection includes the artist’s earliest works through the development of the modern figure paintings for which he is best known. Philip Pearlstein: Seventy-Five Years of Painting will be on view in the Susquehanna Art Museum’s main gallery February 11 – May 21, 2017. Working only from life, never photographs, Pearlstein has become renowned for realistic depictions of models in complex interiors. The ability to look objectively at the human body as an object in the scene, one element of an overall composition, has characterized Pearlstein’s larger-than-life paintings for decades. Among Pearlstein’s honors are a National Endowment for the Arts grant, a Guggenheim Foundation fellowship, and election to the American Academy of Arts and Letters, where he served as President from 2003 - 2006. He has been a dedicated teacher throughout his career, notably at Pratt Institute and Brooklyn College of The City University of New York. In 2008 he received a Lifetime Achievement Award from The National Academy, New York, and the Scholastic Distinguished Alumni Achievement Award. His works are found in the collections of over seventy museums in the United States, including the Art Institute of Chicago, the Corcoran Gallery of Art, the Metropolitan Museum of Art, the Museum of Modern Art and the Whitney Museum of American Art. Pearlstein, age 92, currently lives and works in New York City.
    [Show full text]
  • Artforum, Basquiat, and the 1980S a Thesis Presented to the Faculty of The
    Artforum, Basquiat, and the 1980s A thesis presented to the faculty of the College of Fine Arts of Ohio University In partial fulfillment of the requirements for the degree Master of Arts Cynthia A. Gadsden August 2008 2 This thesis titled Artforum, Basquiat, and the 1980s by CYNTHIA A. GADSDEN has been approved for the School of Art and the College of Fine Arts by Jeannette Klein Chair, Art History and Scholarship Charles A. McWeeny Dean, College of Fine Arts 3 ABSTRACT Gadsden, Cynthia A., M.A., August 2008, Art History Artforum, Basquiat, and the 1980s (98 pp.) Director of Thesis: Jeannette Klein Jean Michel Basquiat’s move from unknown street artist to internationally known gallery star was solidified with a seminal review in Artforum in late 1981. His distinctive style merged cave-like drawings, the scrawl of the “untrained” artist, and astute observations of culture. His packaging of ethnicity, street background, and artistic style matched seamlessly with Ingrid Sischy’s Artforum agenda of art, culture, and race eclecticism. Sischy sought to remodel the magazine to reflect the 1980s fascination with product and image. Basquiat embodied both for Artforum, who shaped his image as an 80s style primitive for 20th century Western art imperialists. Since the early 1960s, Artforum has held the influential position of art world kingmaker. The magazine’s primary focus was the traditional art world centered in New York until 1980, when Sischy took the helm of editor. She guided Artforum through a decade of blurring boundaries between money, fine art, and popular culture. Sischy’s changes reverberated throughout the art publishing industry.
    [Show full text]
  • Philip Pearlstein: Paintings 1990­—2017
    Philip Pearlstein: Paintings 1990 —2017 17th January—25th March 2018 Private view: Tuesday, 16th January 2018, 7­­—9pm “[By 1960], I decided I didn’t want to express other artists’ ideas any longer. I wanted to paint what was in front of me.” Philip Pearlstein, Studio International, 2016 SALON, in collaboration with Betty Cuningham Gallery, New York, is delighted to announce its fourth exhibition, Paintings 1990 – 2017, a presentation of works by the revered American artist, Philip Pearlstein. Pearlstein, now 93, has had an active career in the US and abroad since the mid-1950s. He first studied painting at the Carnegie Institute of Technology where he met Andy Warhol. Upon graduation, Warhol and Pearlstein moved to New York together to seek work in commercial design and pursue their own fine art careers. Pearlstein worked in an abstract expressionist style in the 1950s, before shifting to realism. This show, which is comprised of eight large- scale works in oil, is a celebration of his depiction of the human nude, a subject that has Philip Pearlstein, Models and Blimp, 1991 preoccupied Pearlstein since 1960 – as he says, ‘it is a shape that is always changing.’ In the Oil on canvas 84 x 84 in; 213.4 x 213.4 cm 1980s, Pearlstein began to surround his sitter with objects from his personal collection to further engage the viewer and challenge himself. This exhibition highlights the strategies he employs in creating a complexity in his paintings that continues today. Models and Blimp (1991), with its Michelin man, decoy swan and antique weathervane, is illustrative of Pearlstein’s mature work.
    [Show full text]