rough notes:
lucy McKenzie (any painting from the cabinet show) - various texts, the text from it helped the show. works referential to each other. that mannequin in another in the show. technically really nicely made.
Paulina olowska (Simon lee gallery painters forum) she and Lucy McKenzie friends and collaborated. very large paintings. close to them , painterly. obvious reference to photographs far away. Two kind of references , language painting diverse. Show itself rich with context. Upstairs strange installations films puppets. Different ways of exploring themes. impressed on technical level.
GED Quinn - usually known for large landscapes, mashup of culture, tightly painted. This show gestural and looser. Feel forced sometimes who suddenly go looser. But works.. moved on into new and interesting territory. good example of someone transitioning quite well. this painting st elmo- reference for van gogh, small painting. liked image of painting backpack of stuff canvas hiking around felt like well worn but interesting motif
Albert oehlen - seen his work quite a lot , undecided about him, how he applied the paint, wasn’t sure he believed it, joke? Too ironic. with this show, reassessed him, really great paintings . massive career. big and gestural. Values with this genre of paintings. A show without seeing this school of painters. this show was well timed for him.
mark Bradford - painter he always liked. evolved, earlier works felt more like maps. it’s hard to describe, really huge, this one nearly six metres across. massive paintings. apparently, there isn’t actually paint in them, coloured paper, cut away. consider this a painting still. visual territory. Abstract expressionism.could only made in America. nuance missing ? architectural environment in LA where he’s based. don’t find them brash too full of themselves. See more in.
siobhan coen - firstsite, painting and lights on it. didn’t know her woke before, really impressed with this work. FBI interrogation experiment abstract expressionism something like that. backstory. Visually very exciting, psychedelia and hallucinogenic in sixties, experiments psychotropic drugs. interrogation techniques. Ways that seem entertainment, actually feeding into apparatus in sinister way. when read text with it added a lot of depth to it.
Ed ruscha - really like these text paintings still. Pleased when in Tate modern wondering around with his kids, don’t get to look at thing very long, the child runs very fast. Jenny olzer, was Ed ruscha, enjoyed his show in national gallery (age of empire) technically tight, some other his works aren’t. Kind of funny in Richard Prince way. Landscape mountain. revisited recently.
Des Lawrence - his work impressed him, representational paintings tight. Each based on person but might be object machine place, dispassionate, connected to the person, obituary. he’s the person who designed this train? maybe. nicely made painting , connection to German romantic painting like fried rich. black letter type face in it. great show, always nice to find out artist didn’t know before who’s a big artist.
Keith Tyson - reinvents himself often as painter, first saw in turner prize loosely diagrammatic paintings looked a bit like science diagrams. abstract gestural words. collagey became tightly painting . Might use a team and himself. still life painting, Life still. show. big fan of still life painting. These refreshing to approach it. not ironic in nihilistic way. Painting in general, someone’s enthusiastic.
Peter Doig - when a singer is so popular and you realise actually quite like him. good show at Michael Werner. shouldn’t be allowed in feels like. These paintings different, revisiting of complicated territory of Trinidad, Tahiti, very colonial approach to somewhere like that. can’t Unknow that, quite a lot of these paintings, a bit of david lynch feeling nightmarish dreamlike atmospheres. when he first walked in more you looked at it more he liked it.
Martin Eder - sort of awful, very kitschy, these deliberately tasteless kitschy paintings mash up worse sentimental imagery, questionable, objectification. Very slickly painted. a lot of people thought this was awful. Genius both. impressive show, left impression on him.
joe tilson - three dimensional, relief. formally nice painting, and text, nice line between gestural and formal, and this word making it representational. Original pop art wave, hodgkin hockney era
faith ringgold - like these tapestry, text, pieced together American quilt making tradition, a lot of ideas of home and craft, cultural associations. really diverse show. serpentine gallery.
Ben venom - graphics and textile background made these quilts known about, heavy metal quilter, big show in UK in Birmingham part of home of metal series. excited to see for real. chose this from the show bc of collision of cultural references. jacket local team, different bits of t shirt cut up, collaboration with LA tailor, had number of these jackets. more local connection.
Barry Thompson - met before, met in MA in studio, quiet. after two years had a show, at the time doing very detailed pencil drawings. press release emails, from that show, still very much, very small based around landscapes. George shaw territory, gritty realistic. personal connection with this.
Susanne kuhn- another from Charlie Smith, nick cave, haven’t seen her work before, big painting, application of paint, weird, very strong colours, really enjoyed that painting. New discovery.
Meredith frampton - lucy McKenzie referencing. Restrained formalism, beautifully stillness poetic, contemporary references. Little details like playing card drawing tacked up. arrangements watered down.
susanne kühn:
lucy McKenzie (any painting from the cabinet show) - various texts, the text from it helped the show. works referential to each other. that mannequin in another in the show. technically really nicely made.
Paulina olowska (Simon lee gallery painters forum) she and Lucy McKenzie friends and collaborated. very large paintings. close to them , painterly. obvious reference to photographs far away. Two kind of references , language painting diverse. Show itself rich with context. Upstairs strange installations films puppets. Different ways of exploring themes. impressed on technical level.
GED Quinn - usually known for large landscapes, mashup of culture, tightly painted. This show gestural and looser. Feel forced sometimes who suddenly go looser. But works.. moved on into new and interesting territory. good example of someone transitioning quite well. this painting st elmo- reference for van gogh, small painting. liked image of painting backpack of stuff canvas hiking around felt like well worn but interesting motif
Albert oehlen - seen his work quite a lot , undecided about him, how he applied the paint, wasn’t sure he believed it, joke? Too ironic. with this show, reassessed him, really great paintings . massive career. big and gestural. Values with this genre of paintings. A show without seeing this school of painters. this show was well timed for him.
mark Bradford - painter he always liked. evolved, earlier works felt more like maps. it’s hard to describe, really huge, this one nearly six metres across. massive paintings. apparently, there isn’t actually paint in them, coloured paper, cut away. consider this a painting still. visual territory. Abstract expressionism.could only made in America. nuance missing ? architectural environment in LA where he’s based. don’t find them brash too full of themselves. See more in.
siobhan coen - firstsite, painting and lights on it. didn’t know her woke before, really impressed with this work. FBI interrogation experiment abstract expressionism something like that. backstory. Visually very exciting, psychedelia and hallucinogenic in sixties, experiments psychotropic drugs. interrogation techniques. Ways that seem entertainment, actually feeding into apparatus in sinister way. when read text with it added a lot of depth to it.
Ed ruscha - really like these text paintings still. Pleased when in Tate modern wondering around with his kids, don’t get to look at thing very long, the child runs very fast. Jenny olzer, was Ed ruscha, enjoyed his show in national gallery (age of empire) technically tight, some other his works aren’t. Kind of funny in Richard Prince way. Landscape mountain. revisited recently.
Des Lawrence - his work impressed him, representational paintings tight. Each based on person but might be object machine place, dispassionate, connected to the person, obituary. he’s the person who designed this train? maybe. nicely made painting , connection to German romantic painting like fried rich. black letter type face in it. great show, always nice to find out artist didn’t know before who’s a big artist.
Keith Tyson - reinvents himself often as painter, first saw in turner prize loosely diagrammatic paintings looked a bit like science diagrams. abstract gestural words. collagey became tightly painting . Might use a team and himself. still life painting, Life still. show. big fan of still life painting. These refreshing to approach it. not ironic in nihilistic way. Painting in general, someone’s enthusiastic.
Peter Doig - when a singer is so popular and you realise actually quite like him. good show at Michael Werner. shouldn’t be allowed in feels like. These paintings different, revisiting of complicated territory of Trinidad, Tahiti, very colonial approach to somewhere like that. can’t Unknow that, quite a lot of these paintings, a bit of david lynch feeling nightmarish dreamlike atmospheres. when he first walked in more you looked at it more he liked it.
Martin Eder - sort of awful, very kitschy, these deliberately tasteless kitschy paintings mash up worse sentimental imagery, questionable, objectification. Very slickly painted. a lot of people thought this was awful. Genius both. impressive show, left impression on him.
joe tilson - three dimensional, relief. formally nice painting, and text, nice line between gestural and formal, and this word making it representational. Original pop art wave, hodgkin hockney era
faith ringgold - like these tapestry, text, pieced together American quilt making tradition, a lot of ideas of home and craft, cultural associations. really diverse show. serpentine gallery.
Ben venom - graphics and textile background made these quilts known about, heavy metal quilter, big show in UK in Birmingham part of home of metal series. excited to see for real. chose this from the show bc of collision of cultural references. jacket local team, different bits of t shirt cut up, collaboration with LA tailor, had number of these jackets. more local connection.
Barry Thompson - met before, met in MA in studio, quiet. after two years had a show, at the time doing very detailed pencil drawings. press release emails, from that show, still very much, very small based around landscapes. George shaw territory, gritty realistic. personal connection with this.
Susanne kuhn- another from Charlie Smith, nick cave, haven’t seen her work before, big painting, application of paint, weird, very strong colours, really enjoyed that painting. New discovery.
Meredith frampton - lucy McKenzie referencing. Restrained formalism, beautifully stillness poetic, contemporary references. Little details like playing card drawing tacked up. arrangements watered down.
susanne kühn:
This garden that I built for you..., 2016
Acrylic on canvas
https://www.artsy.net/artwork/susanne-kuhn-this-garden-that-i-built-for-you-dot-dot-dot
'Susanne Kühn’s brilliantly colored and detailed paintings blur the boundaries between nature and architecture. Borrowing pictorial motifs from traditional Japanese landscapes and spatial relationships from Northern Renaissance painting, Kühn typically portrays solitary women in strange and vibrant interiors or exteriors. Though her work is largely figurative, Kühn adds surreal, abstract elements, such as fantastical flora, and objects that interfere with perspective. Recalling Albrecht Dürer’s engraving St. Jerome in His Study (1514), Kühn’s 2011 painting of the same name depicts a young woman in a forest of pinks and greens, appearing both apprehensive and immersed in her surroundings.'
220 × 130 cm
https://www.artsy.net/artwork/susanne-kuhn-this-garden-that-i-built-for-you-dot-dot-dot
'Susanne Kühn’s brilliantly colored and detailed paintings blur the boundaries between nature and architecture. Borrowing pictorial motifs from traditional Japanese landscapes and spatial relationships from Northern Renaissance painting, Kühn typically portrays solitary women in strange and vibrant interiors or exteriors. Though her work is largely figurative, Kühn adds surreal, abstract elements, such as fantastical flora, and objects that interfere with perspective. Recalling Albrecht Dürer’s engraving St. Jerome in His Study (1514), Kühn’s 2011 painting of the same name depicts a young woman in a forest of pinks and greens, appearing both apprehensive and immersed in her surroundings.'
'The compositions of Susanne Kühn's paintings are tight, compartmentalized and typically feature a solitary female figure that exists in a surreal tangle of architecture and landscape. The women in her paintings are clad in contemporary garb, often avoiding the viewers' gaze. These introspective subjects are seemingly lost in contemplative thought or action, perhaps searching for something out of view from the observer.
These large-scale works are dense with visual content, and tend to combine indoor and outdoor scenery into one comprehensible "backdrop" for her figures and objects. The composition and imagery reference Northern Renaissance etchings and Japanese woodcuts. These crowded depictions of chaotically organized planks of wood, animals, flora, furniture and fine china are offset by large flat planes of color, devoid of legible narrative and more reflective in subject matter. These elements reference European art history while creating a sense of thoughtful, distorted perspective and abstraction.
Melissa Kuntz wrote in Art in America, "One of the most remarkable features of Kühn's work is the way she deftly and seamlessly combines styles borrowed from a cornucopia of visual sources."'
These large-scale works are dense with visual content, and tend to combine indoor and outdoor scenery into one comprehensible "backdrop" for her figures and objects. The composition and imagery reference Northern Renaissance etchings and Japanese woodcuts. These crowded depictions of chaotically organized planks of wood, animals, flora, furniture and fine china are offset by large flat planes of color, devoid of legible narrative and more reflective in subject matter. These elements reference European art history while creating a sense of thoughtful, distorted perspective and abstraction.
Melissa Kuntz wrote in Art in America, "One of the most remarkable features of Kühn's work is the way she deftly and seamlessly combines styles borrowed from a cornucopia of visual sources."'