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Gladys Nilsson MATTHEW MARKS GALLERY 523 West 24th Street, New York,New York 10011 Tel: 212-243-0200 Fax: 212-243-0047 Gladys Nilsson Press Packet Kastner, Jeffrey. “Gladys Nilsson.” 58, no. 8, April 2020. Artforum Griffin, Jonathan, and Gladys Nilsson. “From the Hairy Who to Solo Success.” , February 2, 2020, Arts and Leisure, p. 22. The New York Times Shane, Robert R., and Gladys Nilsson. “Gladys Nilsson with Robert R. Shane.” , March 2020. The Brookyln Rail Huzenis, Ella, and Gladys Nilsson. “Gladys Nilsson Paints like She People-Watches.” , February 21, 2020. Interview Goldstein, Caroline. “Painter Gladys Nilsson Got Her Start as a Member of Chicago’s Hairy Who. Now, at 79, She’s Ready to Shine on Her Own.” , February 21, 2020. artnet News Carrigan, Margaret, and Anna Brady. “Private View: Must-See Gallery Shows Opening in February. Gladys Nilsson: Garth Greenan and Matthew Marks, New York.” , no. 320, February 2020, p. 50. The Art Newspaper Epps, Philomena. “Gladys Nilsson’s Metamorphic Women.” , March 6, 2019. Frieze Rudick, Nicole, and Gladys Nilsson. “Eye Contact: An Interview with Gladys Nilsson.” , November 24, 2014. The Paris Review Hull, Richard, Gladys Nilsson, and Jim Nutt. “Gladys Nilsson and Jim Nutt.” , no. 114, Winter 2011, pp. 50–59. Bomb Viera, Lauren. “Gladys Nilsson puts whimsy in details.” , April 30, 2010, section 5, p. 11. Chicago Tribune Braff, Phyllis. “Thumbing the nose, At Artistic Propriety.” , April 7, 1996, p. 10. The New York Times Pagel, David. “Review: Winning Watercolors.” , October 22, 1992, p. F9. Los Angeles Times Cohen, Ronny. “Gladys Nilsson.” 25, no. 8, April 1987, p. 129. Artforum Cohrs, Timothy. “Arts Reviews: Gladys Nilsson.” 61, no. 7, 1987, p. 111. Arts Magazine “Whimsical Artist Shows at Candy Store Gallery.” , January 10, 1973, p. 9. Folsom Telegraph Schulze, Franz. “Gladys Nilsson at Phyllis Kind.” 61, no 3, 1973, p. 107. Art in America Barry, Edward. “Evanston Artist Repeats as ‘Best’ in Institute Show.” , March 1, 1968, p. A7. Chicago Tribune Halstead, Whitney. “Chicago.” 5, no. 9, May 1967, pp. 64–66. Artforum Schulze, Franz. “She’s One of the Hairy Who’s.” , December 10, 1966. Chicago Daily News Halstead, Whitney. “Chicago.” 4, no. 10, Summer 1966, pp. 55–57. Artforum Schulze, Franz. “Chicago Popcycle.” 54, no. 6, 1966, pp. 102–04. Art in America MATTHEW MARKS GALLERY 523 West 24th Street, New York,New York 10011 Tel: 212-243-0200 Fax: 212-243-0047 Gladys Nilsson MATTHEW MARKS GALLERY | 523 WEST 24TH STREET GARTH GREENAN GALLERY “Honk! Fifty Years of Painting,” an energizing, deeply satisfying pair of shows devoted to the work of Gladys Nilsson that occupied both Matthew Marks’s Twenty-Fourth Street space, where it remains on view through April 18, and Garth Greenan Gallery, took its title from one of the earliest works on display: Honk, 1964, a tiny, Technicolor street scene in acrylic that focuses on a pair of elderly couples, which the Imagist made two years out of art school. The men, bearded and stooped, lean on canes, while the women sport dark sunglasses beneath their blue-and-chartreuse beehives. They are boxed in by four more figures: Some blank-eyed and grimacing, others skulking under fedoras pulled low. The scene might suggest a vague Kastner, Jeffrey. “Gladys Nilsson.” 58, no. 8, April 2020. Artforum kind of menace were it not for the little green noisemakers dangling from the bright-red lips of the central quartet, marking them as sly revelers rather than potential victims of some unspecified mayhem. The painting’s acid palette and thickly stylized figures obviously owe a debt to Expressionism, whose lessons Nilsson thoroughly absorbed during regular museum visits in her youth, but its sensibility is more Yellow Submarine than Blaue Reiter, its grotesquerie leavened with genial good humor. The Marks portion of the show focuses primarily on the first decade of Nilsson’s career, while Greenan’s featured works made in the past few years, the two constituent parts together neatly bookending the artist’s richly varied and lamentably underappreciated oeuvre. The earliest paintings, made between 1964 and 1966, mark Nilsson’s coming out as a member of the Hairy Who, a sextet of alumni from the School of the Art Institute of Chicago—including Jim Falconer, Art Green, Suellen Rocca, Karl Wirsum, and Nilsson’s husband, Jim Nutt—whose show at the Hyde Park Art Center on the city’s South Side announced a new and proudly idiosyncratic visual style both geographically and temperamentally distant from what was going on in New York. Though interested in the same sorts of mass-media flotsam and consumerist jetsam as the Pop artists, the Hairy Who didn’t keep postwar American culture at arm’s length. Instead, they reveled in its bright vulgarities, mixing in a good dollop of surrealist irrationality and goofiness to boot. Nilsson’s broad and lively acrylic-on-panel pieces—such as Nightclub, 1964, which features a villainously mustachioed man with an emerald-hued face ogling the high-kicking legs of a trio of showgirls, or Piano Man, made the same year, with its reprise of the tiny lime-colored tooters, now in the mouths of a lounge keyboardist’s audience—give way to Space Drawings, 1967, a knottily detailed suite of works variously combining ink, collage, and watercolor that propose a charmingly sweet steampunk world of man-machine hybrids and free-floating doodadery. It was this sort of effusive figuration that would come to dominate her art throughout the 1960s and ’70s—in unexpectedly luminous paintings on Plexiglas such as Hot, 1968, whose central character is a strangely benign sort of flaming ogre, like a cross between a distorted tomato and one of Ed “Big Daddy” Roth’s mutants, or in the canvas Dipped Dick: Adam and Eve After Cranach, 1971. In this diptych (its title is a bawdy play on the term), Nilsson again engages with art history, reconceiving the Renaissance masterwork as a kind of amoebic cartoon, with its ur-human protagonists rendered as blank forms before an Edenic tree teeming with drooping candy-colored protuberances. Just shy of her eightieth birthday, Nilsson continues to maintain an active studio practice, and the selection of nine larger paintings at Greenan attests to both the longevity and the evolution of her signature style. In these new works, bodies—usually female—swoop and bend amid exuberant jewel-toned landscapes. Although the artist has said the figures are not meant to be taken as autobiographical, it’s hard not to see something of Nilsson in works such as Plain Air, 2018, a punningly titled acrylic-and-paper collage that depicts a reclining artist with a sketchbook in hand; or the merrily boisterous Gleefully Askew, 2019, in which a mostly nude woman is not a static subject, but rather the engine of the action, a painter like Nilsson herself: joyful, mischievous, free. — Jeffrey Kastner Kastner, Jeffrey. “Gladys Nilsson.” 58, no. 8, April 2020. Artforum MATTHEW MARKS GALLERY 523 West 24th Street, New York,New York 10011 Tel: 212-243-0200 Fax: 212-243-0047 In 1966, Gladys Nilsson and five other young art- ists organized an exhibition of their work in Chicago’s Hyde Park Art Center, and overnight became the talk of the town. The group called themselves the Hairy Who. Their art could be caus- tic, outré, vulgar and loud; psychedelic patterns and clashing colors abounded. It was bad taste and brilliant fun. Tattoos, graffiti, comic books, fanzines, games and toys, newspaper and maga- zine advertisements were all influences, as was the ency- clopedic, global collection of the Art Institute of Chi- cago. Rooted in the Surreal- ist traditions of Chicago’s art scene, it was unlike anything else in America at that time. Cold Mouth” (1968). Some Chicago Imagism. Ms. Nils- Ms. Nilsson’s work of her earliest paintings are son has since chosen to follow stood somewhat apart from included alongside her most her own idiosyncratic path. that of her peers, especially recent canvases in “Gladys (Reviewing a gallery show in her watercolors of animal- Nilsson: Honk! Fifty Years of 2014, with work combining istic creatures which are Painting,” a two-venue survey collage with gouache, colored rendered with extraordi- opening Thursday, Jan. 30 at pencil and watercolor on pa- nary delicacy and subtlety. Garth Greenan Gallery and per, Roberta Smith of The She also adopted a graphic Matthew Marks Gallery. New York Times described technique borrowed from In 1969, the Hairy Who the work as “altogether loos- her husband, fellow Hairy amicably elected to disband. er, funnier and more aggres- Who member Jim Nutt, for Along with other artists of sive than before,” and “her painting in acrylic on the the 1960s, they are now often strongest yet.”) With renewed back of Plexiglas, as in “A lumped under the banner of interest in recent years in Griffin, Jonathan, and Gladys Nilsson. “From the Hairy Who to Solo Success.” , February 2, 2020, The New York TimesArts and Leisure, p. 22. to paint big.” Moving Imagism and in figure You’ve been busy! paint around and mak- painting more broad- ing big motions with Unless I’m having ly, Ms. Nilsson, 79, is your arm is fun. It’s an off day, I seem al- enjoying a late uptick as much fun as going ways to be ready to in attention, as dem- through the depart- work. My usual is that onstrated by this, her ment store and seeing I go up into the stu- most extensive exhibi- what the new fashions dio for anything from tion to date. are. I like to paint re- two to five hours in I first visited Ms.
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