Tag Archives: Dana Schutz

PAINT, ALSO KNOWN AS BLOOD

PAINT, ALSO KNOWN AS BLOOD—WOMEN, AFFECT, AND DESIRE IN CONTEMPORARY PAINTING is a large-scale exhibition “devoted to women whose painting practice re-evaluates stereotypes concerning submission and domination”*

The show—featuring work from Poland and abroad— “takes on the challenge of representing the intensity of the external and internal worlds…

“In the beginning of the 1990s, third-wave feminism introduced a new, sometimes self-mocking and ironic, unconstrained and exhibitionist tone in the debate on the images of women in culture, their social roles and desires, the physiology of their bodies, and identity. The exhibition demonstrates that—despite the advancing digitization and dematerialization occurring in social media—firmly embedded in the body, its pleasures, and traumas, painting remains an exceptionally evocative medium for representing human experience.”

“In the context of current social transformations, the postulates of equal access to reproductive and sexual rights, and the race and class struggles, women’s painting provides an important contemplation on the violence inscribed in the orders of seeing and consuming images—how we look at them, what we see, and how others see us. And yet, this is not the kind of painting that seeks to forcibly instruct, provide current affairs commentary, or to admonish. Rather, it calls for alternative scenarios and, most of all, the freedom of expression and the presence of multiple, intersecting identities…”*

PAINT, ALSO KNOWN AS BLOOD—WOMEN, AFFECT, AND DESIRE IN CONTEMPORARY PAINTING*

Through August 11.

Museum of Modern Art in Warsaw

Wybrzeże Kościuszkowskie 22, Warsaw.

Artists in the exhibition include Lena Achtelik, Darja Bajagic, Gosia Bartosik, Kamilla Bischof, Agata Bogacka, Martyna Borowiecka, Agnieszka Brzeżańska, Chelsea Culprit, Martyna Czech, Olga Dmowska, Angela Dufresne, Isabelle Fein, Viola Głowacka, Penny Goring, Jenna Gribbon, Hyon Gyon, Karolina Jabłońska, Katarina Janeckova, Cheyenne Julien, Ewa JuszkiewiczCelina Kanunnikava, Irini Karayannopoulou, Allison Katz, Simone Kennedy Doig, Caitlin Keogh, Stanislava Kovalcikova, Dominika Kowynia, Sarah Ksieska, Katarzyna Kukuła, Agata Kus, Sasa Lubinska, Reba Maybury, Monika Misztal, Magdalena Moskwa, Marta Nadolle, Paulina Ołowska, Julia Poziomecka, Christina Quarles, Autumn Ramsey, Megan Rooney, Dana Schutz, Tschabalala Self, Agata Słowak, Paulina Stasik, Frieda Toranzo Jaeger, Alex Urban, Aleksandra Waliszewska, Ambera Wellmann, Issy Wood, and Amelie von Wulffen.

From top: Christina Quarles, Grounded By Tha Side of Yew, 2017, acrylic on canvas, courtesy of the artist and Pilar Corrias, London; Karolina Jabłońska, Goddess, 2018, oil on canvas; Martyna Borowiecka, Sleepy snakes lay curled up in their secret hides, 2018 oil on canvas; Chelsea Culprit, Cheeseburger in Paradise, 2016, oil, acrylic, mixed media, canvas, 110 x 87 cm. The FED Collection, Mexico; Ambera Wellmann, Now Now, 2018, oil, canvas; Martyna Czech, Yours Forever, 2018, oil on canvas. All images courtesy and © the artists, collectors, and the Museum of Modern Art in Warsaw.

DARRYL PINCKNEY ON DANA SCHUTZ AND HER DETRACTORS

“[The black presence in the contemporary art scene] almost feels as though an Occupy High Art movement is happening….How black people have been seen in history continues to influence how they are seen today. Yet the high visibility of blacks in the art world hasn’t done away with the critical defensiveness that made the controversy at this year’s Whitney Biennial over Dana Schutz’s painting of Emmett Till such an embarrassing turf war among the second-rate. Till, age 14, was beaten to death in 1955 in Mississippi for supposedly having whistled at a white woman. The painting has no power unless, or until, you think of the horrific image of Till in his open casket on which it was based.”

From Darryl Pinckney, “The Trickster’s Art” (a piece on Lynette Yiadom-Boakye, Kehinde Wiley, and the Regarding the Figure show at the Studio Museum in Harlem), New York Review of Books LXIV.13 (August 17, 2017): 50.

Pinckney is a novelist, longtime contributor to The New York Review, and partner of James Fenton (who was introduced to Pinckney by Susan Sontag in the Paris Bar in Berlin in 1990). Pinckney’s latest book—Black Deutschland: A Novel—is the story of a young, gay, post-drug-rehab Chicagoan in 1980s Berlin.

See Deesha Philyaw’s Rumpus interview with Pinckney.

Left to right: New York Review of Books editor Robert Silvers, Darryl Pinckney, publisher Rea Hederman, and, seated, Susan Sontag.

Photograph by Dominique Nabokov.