Ventured over to Brooklyn to see what visual awesomeness Melissa Brown was up to in her studio. Melissa had the studio organized for making large-scale prints. She’s known for working with a variety of media including: used scratch tickets, oil paint, lino-cuts, wood-cuts, drawing, mail art, video, and performance. The color in Brown’s prints and paintings is what initially drew me to her work, but I admire her work for its openness and psychological generosity. Talking with Melissa was really fun. I actually got a little dadarhea of the mouth and started talking about philosophy, which in retrospect is embarrassing. Melissa is in a bunch of cool shows, one at Canada called Dadarhea which runs until March 20th, and two upcoming shows: Paper A-Z at Sue Scott, and the upcoming show at Zieher Smith in Chelsea.
Last Summer Evan Gruzis openned up his studio for a visit with B/D. His work struck a chord with me. It’s the way he takes “cheesy” tourist imagery, 80′s nostalgia, and advertisements; and then intellectually flips-that-shit to create paintings that deal with death, infinity, and desire. It was like he was reading my mind, because those are the first three things that occur to me when looking at an add for a cruise ship or a Caribbean resort. His work interested another website, sightunseen, and there’s a new studio visit where they get into creativity and the aspects of hallucinogenic perception.
Bryant Park, located about a block East of Times Square in Manhattan, has been home to a several fun contemporary/public art projects recently. Right now, they’re hosting the “Battle of the Brush.” Which happens to include alumni of the Beautiful/Decay Studio Visits: Alison Blickle and Tom Sanford. It’s based around the idea of a civil war reenactment, except instead of the North and South, it’s between abstraction and figuration. Bryant Park was a campground for soldiers during the Civil War, so that’s where the whole Civil War thing comes in. Personally, I just like the paintings… It’s coming down this Wednesday, Feb 2nd, so get over there asap. The show was curated by Corporate Art Solutions.
Paul Brainard’s got a healthy libido, there’s no doubting that. He mixes it up with junk food, memento mori, geometric abstraction and political anger to create work that seduces and repels. Dredging into the murky area of what the French psychologist Jacques Lacan called “desire;” defined as: what you want after you’ve got everything you need. Cue the Rolling Stones, I can’t get no (guitar riff) satisfaction. Brainard is bad mofo with a pencil, after the jump there’s some tasty drawings. You can see Paul’s work in SF at Guerrero Gallery, and in NYC at Allegra LaViola for the upcoming group show Pornucopia, which is running from Feb 4th to March 11th.
Ryan Bradley’s large, intricately composed pastel paintings of attractive female faces are seductive. The delicate paintings are “unfixed,” which means the pastel is left loose. This creates a surface similar to butterfly wings. If you touched the paintings, some would rub off onto your hands. I can’t help but think there is some relationship between the fragility of the surface and the portraits’ beauty. Like the really ripe moment when someone is at the tops of their looks, you know it can’t last, but you can look away either.
Tom Sanford’s new work touches on politics and our infotainment culture with equal enthusiasm. For your viewing pleasure there is an erotically oily Sarah Palin, the repressed sexuality of Philip Guston, a Jong Il fist-bump, Jail Birds, and love affairs between beautiful nymphets and strangely hairy men. I think that’s something for everyone. All of these paintings have emigrated to Europe. Some for Copenhagen at Gallery Poulsen, and some to Norway, for a show at Galleri S E.
When Michael Anderson says that the “street is my palette,” he actually means it. It’s not a metaphor. Anderson’s practice, which Beautiful/Decay detailed in a studio visit over the summer, involves snatching up posters from the street at night. Anderson has collected posters all over the globe, but lives in Harlem, and brings the energy of that place into his work. His current show, The Street is My Palette, up at Claire Oliver in Chelsea until December 30th is a virtuoso exhibition of collage with the flair, rhythm, and charisma of the street.
Ted Gahl is making some beautifully paired down paintings. They are amazingly suggestive for the minuscule amount of information they present. The painting above feels, to me, like portraits in profile, but is it really? I’ve never seen a facelike these pink hieroglyphs. It’s interesting what a painting can make you think you see, and with just a few clues. Gahl is in a bunch of upcoming shows: The Power Of Selection 3, curated by Ryan Travis Christian at Western Exhibitions, in Chicago; 2020 at the Above Second Gallery, in Hong Kong; and Color Me Bad(d): Joshua Abelow, Ted Gahl, and Hugh Scott Douglas at Nudashank in Baltimore.