David Shrigley explores a new side of the banal with his monumental stone ‘Memorial,’ a tongue-in-cheek celebration of the short-lived usefulness of the shipping list. (Presented by the Public Art Fund at the entrance to Central Park at 60th Street and Fifth Ave, through Feb 12th).
David Shrigley, installation view of ‘Memorial’ at Doris C. Freedman Plaza, Central Park, 60th Street and 5th Ave, Nov 2016.
👘- A memory associated with an article of clothing they have
Arch seems to just blink at the question.. Then down to her attire… “You realize I pretty much wear the same exact damned thing 24/7 all year round without changing, right? Anyway… One that was interesting was when I wore a… ‘Cosplay’, so you can say… Of Alice from the Resident Evil 4 movie. Surprisingly mobile and another easy way to store guns and bullets. The aftermath that day was… Terrific as well~”
Outside the gallery
The pavement was damp,
And under that flickering lamp
I looked at him and asked,
“Which artwork was most captivating?”
And without skipping a beat
Or a hint of shame
He said my name.
Tonight: Internationally acclaimed abstract painter Sam Gilliam discusses his career and work with Jonathan Binstock, the Mary W. and Donald R. Clark Director of the Memorial Art Gallery at the University of Rochester.
Monet at Poissy (21) Nets Monet felt euphoric at the beginning of the summer holiday in Pourville, having his family around all the time and knowing that he would be able to paint for three months in a row. The rocks on the beach and the fishermen’s nets were only a few things that he proudly showed them.
Claude Monet, Les rochers à marée basse, Pourville (The Rocks at Pourville, Low Tide), 1882. Oil on canvas, 64,3 cm x 78,7 cm. Memorial Art Gallery of the University of Rochester Claude Monet, Les filets à Pourville (Fishing Nets at Pourville), 1882. Oil on canvas, 60 x 73 cm. Private collection Claude Monet, Parc de pêche à Pourville (Fishing Nets at Pourville), 1882. Oil on canvas, 60x 81 cm. Gemeentemuseum, Den Haag, The Netherlands
Ueda is renowned for her surreal narrative paintings of slight girls surrounded by all manner of lush hyper-colored flora and fauna. The artist’s work conveys a feeling of ambivalent rapture, as her dreamy subjects are suspended in varying states of silent revelation and resignation; quiet witnesses to recondite mysteries. Drawing from the coexistence of oppositions, the sickly sweetness of Ueda’s imagery is often offset by the inclusion of disturbing or unexpected juxtapositions. Her young girls are frequently staged in secret communion with sea creatures and land beasts, and appear in equal states of threat and calm. Beauty lives and thrives in Ueda’s surreal universe – a place of unlikely kinships and unsettling recesses – as the artist forges a precarious harmony between light and dark, loneliness and friendship, emptiness and largess.
Kioku No Hana is the artist’s first solo exhibition with Thinkspace Art Gallery. This body of work is largely based on the cultural motif of the chrysanthemum flower: a symbol of lamentation and grief in Japanese culture. Ueda draws from the recurrence of this symbol to create beautifully lush tableaux – at once rich and ornate, while also suggestive of absentia and loss. Throughout, Ueda’s illustrative representation of the chrysanthemum is symbolically heightened to a supernatural pitch. While familiar and clearly derived from the recognizable world, her stylized renditions become beautifully excessive and seemingly imbued with a talismanic power beyond our recognition.
Ueda creates these highly saturated works with the meticulous application of acrylic washes and mineral pigments on paper, cloth and wood. Delicate, and yet simultaneously forceful and unsettling, the works seem to hover in a dream state of surfeit and exaggeration. Ueda’s technique is distinctly her own, and her palette and imagery are undeniably iconic. In Kioku No Hana the artist weaves a visual imaginary of plentiful loss, as her work deftly hovers somewhere between joy and exquisite sadness.