A few personal updates before we hit the dog-days of summer:
Installation view, Sargent's Daughters. (Infra)Red Herd, center.
Joy Garnett: Red Herd, (2014) o/c 20x30 inches.
'Sargent's Daughters: An exhibition of women artists exploring the legacy of John Singer Sargent' through Saturday, July 26, 2014
179 East Broadway - map/directions
The New Yorker
July 18, 2014
Goings on about town: Art
A young gallery celebrates its first year with a show named for itself, crowded with works by forty female artists, most of them painters, who engage with the legacy of John Singer Sargent—his style, his social acuity, and his male gaze. Portraitists, as you’d expect, get top marks. Caris Reid subverts Sargent’s classicized eroticism, depicting a flower-crowned ephebe in a white tank top, while Jesse Mockrin’s painting of a sun-starved adolescent updates old-school technique for the “Twilight” age. One wonders what Sargent would have made of Betty Tompkins’s drawing of a woman whose lips, as dainty as Madame X’s, undertake a sex act that no Edwardian would admit to performing.
Through July 26.
Joy Garnett, “Piss & Vinegar (art and ferment)” installation, based on her grandparents’ beekeeping, along with her own home fermenting (photo by Allison Meier for Hyperallergic: Artists Probe Urban Agriculture)
curated by Amy Lipton at Smack Mellon
Through Sunday, July 27.
Edham the Orientalist (from the series “Tracing the Covers of Nonexistent Books”), 2013. Oil on birch panel. 16 x 12 inches. Based on the cover of Sources of Islamic history and other texts, by Ismail Ahmed Edham. Banned book (ca.1935) re-issued in 2009.
organized by Yevgeniy Fiks
First Floor Gallery, Harare, Zimbabwe
Due to tremendous interest and positive feedback, the Wayland Rudd Collection exhibition is extended to August 7, 2014.
Press: "Exhibition on racism at First Floor Gallery," The Herald, June 24, 2014
"The Wayland Rudd Collection," Art in Review, Holland Cotter in The New York Times, Feb 6, 2014
Book Cover illustration: Joy Garnett, Foo Fighters (detail) 2010. o/c 54x60 inches.
Walter Benjamin and the Media, by Jaeho Kang
published by Polity
Just dropped July 21, 2014.
Joy Garnett: Skiff (2013) oil on canvas, 12x16 inches
UPCOMING SOLO Exhibition:
Joy Garnett: Being There
Media images of natural and man-made disasters function not to bring us closer to these events, but to give us the illusion of 'being there'. Moving along a different trajectory than reportage, painting walks the line between metaphysical engagement and story-telling without giving us clear guidelines for interpretation. By not offering contexts for the events depicted, painting sidesteps the journalistic urge to explore other possibilities.
The paintings in ‘Being There’ merge fact with fantasy as they draw upon found news images for subject matter. By absorbing media images and ‘re-making them’, they exploit our expectation and desire to witness events we can’t experience first-hand. Purposefully ambiguous, the paintings in 'Being There' stir unexpected associations, partial recognitions, unlikely comparisons, and far-flung projections. There is no one correct way to read them since they reflect the varied viewpoints and expectations of the viewers themselves.