Shallow Deaths

 

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by Glenn Brown

This painting is one of many in Brown’s oeuvre based on the 1984-85 painting Head of J.Y.M II by German-British figurative painter Frank Auerbach (b.1931). Spanning a variety of colors, tones and compositional modifications, Brown employs the visage of Julia Yardley Mills much like Auerbach did through the 80s as an enduring muse over a number of interrelated works. In his series, however, Brown conspicuously smoothes out the signature impasto of his predecessor – turning what was originally thick, scabrous oil paint into a smooth, luminous sheen. The palette is meant to evoke Pablo Picasso’s Blue Period (1901-1904), when personal and political strife became manifest in monochroma-tic and melancholic canvases. As such, this work aptly draws its title from a barbed comment by American poet, writer and satirist Dorothy Parker (1893-1967) about a death which registers meekly as tepid and unremarkable. In the context of this painting Brown elevates the ecstasy of his anonymous, androgynous subject to ostensibly avoid such a quiet passing – surrounding the figure in a tempestuous blue and crowning his/her head with a pristine halo reminiscent of Christian iconography.

– Steven Matijcio, Curator, Contemporary Arts Center, Cincinnati, USA

 

 

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Etant Donnes

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by Marcel Duchamp,

Well there’s a lot to say about this enigmatic artist and this amazing piece of art which astounded the art world when it was released.in 1966.

It was believed that Duchamp had bowed out of the art world and pursued a career in professional chess player but in fact had worked on this piece in secret for 20 years working out of his Greenwich Village studio. The piece is composed of an old wooden door, nails, bricks, brass, aluminum sheet, steel binder clips, velvet, leaves, twigs, a female form made of parchment, hair, glass, plastic clothespins, oil paint, linoleum, an assortment of lights, a landscape composed of hand-painted and photographed elements and an electric motor housed in a cookie tin which rotates a perforated disc….well of course, why the hell not.

Duchamp also supplied a ‘Manual of instruction’ in a 4 ring binder explaining how to assemble and disassemble the piece and on closer inspection it becomes apparent how intricate and involved the piece is. It was in effect a large diorama with which the spectator, and I say spectator more than viewer due to the content of the piece which i’ll go into further on, Jasper Johns, a longtime Duchampian, once referred to “Étant Donnés” as “the strangest work of art in any museum.” And yes its strange and compelling. It occupies a closed-off room in a dead-end area at the back of the main Duchamp gallery. The room can’t be entered. The entrance is blocked by a pair of locked antique wooden doors, solid except for two tiny side-by-side peepholes in their center. See the video below to understand the concept.

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The way it is viewed leads the spectator to be the only one to view it at any one time, given the spectator to feel that he/she is spying on something that they shouldn’t be, catching a glimpse of something taboo. As you look you see a naked female body sprawled in long grass holding a lamp. In the background there is a painted landscape and what looks like a flowing waterfall. Like the background scenery is at odds with the chaos of the foreground details, you see a shattered broken brick wall just at the door with the naked torso of the woman with what looks like mutilated genitals. The piece offering up many questions…are we witnessing a post attack on the woman in question or is she laying back waiting?  Me, on first view I clearly had the notion that it felt like a crime scene but the lantern puts this view at odds with that idea. I think if i were to see the piece through the door i would feel like a voyeur my eyes directed to the forbidden, an overtly sexualised form languishing unbridled in the chaos of the long grass with the beauty of nature in the background.

So yes it’s a confusing piece but wonderfully stated. Every time I look at it I feel a different nuance comes forth and makes me think differently, I don’t know much about Duchamp but this has given me a taste for finding out more….and in the end isn’t that what art is meant to do, open our eyes and see the world differently. Now I know i’m not a good writer in any way but if you would like to comment and set me straight would appreciate hearing what others think on seeing this fascinating piece.

The Dream

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by Dan Kitchener (DANK)

Limited edition print
Main edition of 50 prints
10 Hand finished AP’s
5 Gold Leaf AP’s – with hand finishing and hand added 24ct gold leaf
Size: A2 – 42.0 x 59.4cm

£95.00 for main edition
£125.00 Hand finished AP
£150.00 Gold AP
plus shipping ( worldwide )

Each print signed and numbered and ‘DANK’ stamped
( image based  photography of model: Ayumi LaNoire )

pre order: dankitchener@googlemail.com

Available from October 1st – 8am ( GMT ) exclusively from dankitchener.bigcartel.com
www.dankitchener.com