![]() These paintings, sculptures and photographs introduce the section Fischl calls “Suburban Idyll (or not).” Compared with the ersatz baronial Levittowns and Greenwichs that are these works’ inspiration, Fischl’s use of gallery space is an exercise in co-op living.Īura Rosenberg, Laurie Simmons/Lena Dunham, 1996-1998. There, in less than twenty square feet of space, are arrayed Claudette Schreuders’ carved twin wooden figures The Third Person, Gregory Crewdson’s C-print Untitled (Empty House), Amy Bennett’s intimate oil painting Property Line, James Casebere’s setup photo Landscape with Houses (Dutchess County) #9, Will Cotton’s candy-themed canvas Brittle House, and a Roy Lichtenstein bronze abode painted in Mondrian primaries-red, yellow and blue. ![]() The exhibition purports to explore the use of effigies as an artistic “genre,” yet consists of little more than a roll call of popular works that employ kiddie surrogates-dolls, toys, robots and mannequins-to trace what the exhibition release terms “a subversive and escapist world at odds with the values and pretensions of polite society.” Like Fischl’s memorable 1980s paintings, “Disturbing Innocence” works best as a group of single pieces that dwell on childhood’s loitering traumas conversely, it flounders whenever adult connections struggle to be expressed.ĭivided into three unfocused sections, the exhibition reveals a congested display the minute the elevator opens onto the Flag Art Foundation’s 9th floor. ![]() This proves doubly true when one looks, mostly in vain, for a robust rationale for what is a star-studded, but conceptually confounding affair.Ī large group-show Fischl organized for Chelsea’s Flag Art Foundation, “Disturbing Innocence” packs together 87 artworks by 58 historical and contemporary artists into two floors of the Chelsea Arts Tower. Though a virtual American Girl store, Fischl’s crowded exhibition leaves one short on answers. ISBN: 0919863140 9780919863149.Collection from San Francisco Museum of Modern Art.“Why, in the most powerful and richest nation in the world, at a time when America leads the world in science and technology, are many of its most talented artists playing with dolls?” An excellent question, this is how painter Eric Fischl spins his newest curatorial effort, “Disturbing Innocence,” in a recent conversation with the magazine Dazed and Confused. Produced by the Education Department, MCA. Video includes shots of his works Bayonne, 1985 Bad Boy, 1981 Time for Bed, 1980 A Funeral, 1980 A Woman Possessed, 1981 Pizza Eater, 1982 New House, 1982 Untitled (Two Women in Bedroom), 1982 Master Bedroom, 1983 Daddy's Girl, 1984 and A Visit to/A Visit From/The Island, 1983. #ERIC FISCHL VGALLERY TV#In the interview, Eric Fischl discusses: how his work is mostly fictional and not autobiographical his work process his work Bad Boy his use of contemporary objects to make his figure paintings modern his interest in the effects produced by putting a TV in a painting how the objects that we live with assume identities why he never works from models audience interaction with his paintings his work Daddy's Girl and how the relationship between the viewer and his works relates to the relationship between the Greeks and their gods. ![]() Checklist wrinkled on two edges.Artitst interview with Eric Fischl produced for his exhibition Eric Fischl: Paintings, NovemFebruary 2, 1986, organized by: MCA, Mendel Art Gallery, Saskatoon Saskatchewan, Canada and curated by: Bruce W. ![]() Checklist of additional paintings laid in. ![]()
0 Comments
Leave a Reply. |
AuthorWrite something about yourself. No need to be fancy, just an overview. ArchivesCategories |