![]() ![]() Spanning painting, drawing and sculpture, the artist reflects upon the history of art without confining himself to a specific period. 1966) practice is one in which concerns of a technical, aesthetic and spiritual nature are explored through an eclectic mix of influences. cat., Berlin: Galerie Max Hetzler and Holzwarth Publications, 2006, p. Morton, 'Don't stop me now', in Glenn Brown, exh. ![]() ![]() ![]() These, then, are paintings that are about vision and revision, about tweaks and twists – of a picture, of an expectation – and the pert surprises they produce.” “Some things you might already know about Glenn Brown's paintings: they borrow their motifs from works by the heroes and villains of art history, among others Jean Honoré Fragonard, Georg Baselitz, Frank Auerbach, Salvador Dalí, Rembrandt and sci-fi artist Christ Foss these borrowed motifs undergo formal and chromatic distortions and cross-pollinations whatever the texture of the surface of the work from which they take their imagery (craggy in an Auerbach, smooth in a Dalí), the surfaces of Brown's canvases are absolutely flat, resulting in a kind of trompe-l'oeil the titles of these canvases ( Joseph Beuys, 2001, say, or I Lost My Heart to a Starship Trooper, 1996) often evoke seemingly incongruous episodes from the art or pop culture of the past that, on reflection, throw skewed light on Brown's skewed work. ![]()
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