Sunday, April 25, 2010
Additionally, the Armory Show launched a premiere series of public programming in celebration of New York City’s unparalleled artistic communities. Celebrating in a different neighborhood each night, events include special receptions, open studios, art tours, museum discounts, performances, panels, artist discussions and parties.3
This year, Armory Show 2010 featured 267 galleries from 31 different countries. Moreover, this year marked another milestone for the fair with the introduction of Armory Focus: a new section that will feature an important art community every year-- premiering with Berlin.4 Contemporary artist, Sean Landers made his debut at this year’s Armory Show with the Friedrich Petzel Gallery. Lander’s work is humorous, thoughtful, provocative and witty. It possesses a masculine voice of self-awareness as well as a perspective, that expresses an array of emotions including boredom, worry, insecurity, self-satisfaction, disappointment and indifference. At the core of Landers’ work lies an “‘appetite for risk.’ Whether in his use of private experiences as public subject matter or his refusal to rely on a single medium or style, Landers has always challenged himself to make works that expose the process of creation and destabilize viewers’ expectations.”5
Sean Landers was born in Palmer, Massachusetts, in 1962. He received a BFA from the Philadelphia College of Art in 1984 and an MFA from Yale University School of Art in 1986. A comprehensive catalogue of his work was published in conjunction with his solo exhibition at Zurich Kunsthalle in 2004. In 2006, he had one-person shows at Taka Ishii Gallery, Tokyo, and greengrassi, London. Additionally, he participated in many group shows including: “Defamation of Character” at the P.S.1 Contemporary Art Center; "From Damien Hirst's Murderme Collection: In the Darkest Hour There Will Be Light," at the Serpentine Gallery, London; and “Happiness” in the 4th Berlin Biennial for Contemporary Art.6 Photo At Leftt: Sean Landers, Chihuahua II, n.d. Oil on linen. 53 x 45 in.
Over the past two decades Landers’ videos, photographs, paintings, drawings, and audio works, (which are all self-portraits in one way or another) have depicted a seemingly limitless range of characters, in styles varying from cinema verité to polished bronze. The artist finds that the dual strategies of “personal material and formal multiplicity” allow him to frankly and fearlessly “infiltrate his viewers’ consciousness with raw truths about contemporary society-- and the art world in particular.”7 Photo At Right: Sean Landers, The Idiot, 2003. Bronze.
The meaningful narratives which underlie Landers’ work often evolve gradually in nuance and poignancy, however, the visual impact of his works are immediately apparent. “Delicately rendered in a light palette, the paintings are literally and physically built up over layers of ruthlessly honest dialogue.”8 Moreover, Landers’ body of work shares similarities with the writing styles of novelists like Knut Hamsun and Fyodor Dostoyevsky. These authors’ “humanization of the anti-hero and [elegant use of language] to articulate the raw private experience of an individual’s relationship to society have parallels throughout Landers' oeuvre.”9
The brilliance of Landers lies is his innate ability to explore the boundaries of his artistic terrain through various mediums and expose questions about how an artist can possess a certain territory while simultaneously remaining rigorously innovative.9 With seemingly effortless artistic control, Landers draws from aspects of life experiences so that what we know and feel about life as human beings "opens into new realms of depth and complexity." 10 Landers' work breaks with typical fine art conventions and makes viewers feel as though anything is possible in the realm of art. Landers’ paintings remind viewers why they come to see art in the first place: “artists channel fundamental mysteries of experience that can be conveyed by aesthetic means but that are also beyond them. The encounter is beautiful, provocative and sometimes painful, but it is essentially human.”11 Photo At Left: Sean Landers, MacPhee, 2009. Oil on linen, 48 x 45 in.
Sean Landers Links:
Saturday, February 13, 2010
Produced by Mackinnon and Saunders
CGI Animation by Flix Facilities
Animation by Chris Tichborne
Lighting Camera by Martin Kelly
Music by Danny Elfman
Click Here to learn about the making of Tim Burton's MoMA animation.
Tim Burton Links:
Tuesday, November 10, 2009
After graduating from the Tyler School of Art in Pennsylvania in the late1970s, Chuck Connelly (a guy from a working class family in Pittsburgh) moved to New York City.1
Settling into a small apartment in the East Village between Avenues B and C, he arrived just as the art scene was transforming the area with eccentric performances by Klaus Nomi, Colette and Gracie Mansion.2
During a surge in the neo-expressionist art movement of the 1980s, Connelly became a favorite of the American art world and an icon in New York City’s booming art scene. 4 His paintings were frequently compared to those of Vincent van Gogh’s 5 -- and like van Gogh’s work, Connelly’s paintings made millions.
Connelly’s paintings were represented by some of the most significant galleries in New York, including the Lennon Weinberg Gallery and the “Annina Nosei Gallery where [his] paintings were exhibited alongside Jean-Michel Basquiat, Robert Rauschenberg and Julian Schnabel.” Connelly’s paintings were also acquired for the Museum of Modern Art’s (MoMA) and Metropolitan Museum of Art’s (MET) permanent collection. In 1989 Nick Nolte played Connelly in Martin Scorsese’s film "New York Stories: Life Lessons"-- a collection of short stories originally written by Richard Prince. At the height of his career, Connelly showed “promise of becoming one of the next inspiring heroes of art and American art culture as a master class American painter.” 6
However, as Connelly’s fame and fortune increased throughout the decade, he began acting out his own admiration for such hard-drinking legends as Vincent van Gogh and Jackson Pollock. Connelly’s self imposed ruin alienated those around him and ultimately destroyed his professional contacts with collectors, curators, and gallerists.7
The HBO documentary, The Art of Failure: Chuck Connelly Not For Sale, can be seen as a continuation of Scorsese’s 1989 film. The documentary chronicles Connelly’s effort to re-enter the art world of the 21st century though subsequently reveals how the artist’s disturbing personality, verbal abuse and alcoholism caused his exile in the first place. However, despite the Art of Failure’s depiction of Connelly’s abrasive personality and alcohol abuse the film is in many ways as Director, Jeff Stimmel describes a story about “a working-class outsider who is fighting ageism, elitism, and cronyism”. 8
With a recent mini-retrospective of his work at Chelsea's DFN Gallery (June 21-July 18) and a larger retrospective of his work currently on display at the Trigg Ison Fine Art Gallery in West Hollywood (October 30 - November 24, 2009). Connelly hoped that the documentary would not only lead to sales but cause others to see a different side of the New York art scene. “In contrast to the 1960s, when art indeed served a strong political cause, the multitude of genres and styles that typified the 1980s is still sorting itself out. The Reagan era paralleled both the expanding art market and the growth of pluralism, pushing artists to find new ideas in a series of drug-induced phases that involved either cocaine, heroin, crystal meth, or alcohol--to name a few.” Surviving these pharmaceutical solutions proved critical in the fight against artists like Connelly’s impending historical irrelevance.9
Connelly attributes the stalling of his career to the stock market crash of 1987 and the art market's subsequent shift from neo-expressionism to neogeo, (short for ''new geometry''). The Art of Failure examines the purpose of being an artist at a time when the art market’s success relies heavily upon the strength of auction houses like Christie's and Sotheby's to sell the artist’s work. More importantly, it asks the question of how can art dare or attempt to achieve something meaningful, given the large number of bold and edgy artists who were either casualties of the era or simply passed over? 10
Chuck Connelly Links: