Lines from Keiichi Tanaami’s bio include: “experimenting with LSD,” “working in Andy Warhol’s factory,” “art directing Playboy,” and “depicting motifs from dreams and memories, such as an oversized goldfish, referring to his grandfather, who would kill them by squeezing them.”
I’m not sure whether Brusse’s love based mini-installations make me embarrassed that my boyfriend doesn’t care enough to carve leftover watermelons or mush raw meat patties for a surprise love note, or extremely glad I’m not dating a psychopath who messes with my groceries. I’m sorry, but I almost feel like his work is just one, tiny non-returned phone call step away from a nasty note keyed into my car and a court-issued restraining order. Am I really that cynical? What’s wrong with some roses and a post-it note on the door? Is re-tiling your entire bathroom ceiling in red and white squares that say “I love you” design faux-pas or grand beaux-arts? What do you think….sweet or sour?
Elisa Johns has a new selection of oil paintings up at Mike Weiss Gallery. Within the exhibition, entitled “Huntress,” Johns draws from mythology, in particular the female goddess/heroine, for her subject matter. Her fragile, waifish women reference today’s “revered” paradigm of female beauty, the high fashion model, while her delicately dripping washes set within soft, sparse canvases call to mind the minimal compositions of Japanese scroll art. The exhibition will be on view until May 9th.
Brian Willmont (who we featured in Book 3) recently added a new selection of works to his portfolio. His wacky wild west cast of cacti include Clint Eastwood style brambly bandoleers and prickly pistol-iers. The spook of the frontier’s ghost towns, outlaws and mining carts are infused with Brian’s unique sense of humor. I mean really, what’s better than a desert plant sporting oversized cowboy hats and shades?
An in-depth and deeply interesting interview with Jeffrey Deitch conducted by writer & critic Carlo McCormick about Jeffrey’s NYC legacy and plans for his big move to Los Angeles as the Director of The MOCA. Presented by our Chicago art audio blog Bad At Sports.
Aaron Johnson’s sunny Brooklyn studio is full of riotous, colorfully undulating, larger-than-life monsters. He’s getting ready for a show that opens next week. Luckily, he had some paintings in progress so we can see how he puts his paint on. Known for making paintings that are both incredibly gorgeous and politically aggressive, Johnson continues to develop and has upped the ante with his new work. Now he’s including Old-Master appropriations, political satire, religious abominations, gender-benders, and personal references, all played out in monstrous iconography.