cecily brown interview

Photo: Rob McKeever; © Cecily Brown. And at the same time the big ones were becoming very loose and open. Cecily Brown - Untitled (CB 1350). It was actually copied from a motif in Picasso’sRape of the Sabines, so it almost couldn’t really go wrong because of this solid composition. I’d sit down with one and wouldn’t get up for six hours. Cecily Brown photographed in her studio in New York in July 2018. In September, the artist will be showing new works at Contemporary Fine Art, Berlin, and next year will have her debut exhibition at Thomas Dane Gallery, London. at Paula Cooper Gallery, New York. Because of the practical nature, I can’t paint on something the next day, or for a few days after, because the surface is tacky. I'm not sure why. When I first started working this small, a lot of people asked if they were studies for the larger ones. Her engagement with the academic tradition – though always a pronounced influence on her work – has become more evident in recent paintings: over the past several years, she has primarily focused on ensembles of figures, in dialogue with artists like Hogarth, Degas, and Delacroix. When I visit one afternoon in July, paintings and drawings of loosely defined figures emerging from energetic arrays of sweeping, abstract strokes seem to line almost every available surface, propped up in stacks against the walls or lying on the floor to dry. (After 15 years with Gagosian, she left the gallery in 2015, and is now represented by Thomas Dane in London and Paula Cooper in New York. Photo: Brandon Israels & Doug Volle; © Cecily Brown, Of all the mediums she employs, she thinks of the monotypes as closest to her paintings: ‘In drawings I’m almost always copying from another source – it’s a way of getting information. Maybe because I was a bit scared of it. Cecily Brown’s studio – an airy, light-filled loft overlooking the bustle of New York’s Union Square – is, at any given moment, home to as many as 50 works in various stages of completion. I think it distracted people for a really long time.’. But I didn't, not for another year anyway. W hen Cecily Brown opens the door to her huge, skylit studio in the meatpacking district of Manhattan, I think I won't know where to stand or look. I hate it when you love a painting, and when you go and look at it closely the surface is really disappointing. For instance, in the book’s interview with Courtney J. Martin, chief curator of the Dia Art Foundation, Brown says, “I’m from a small town where my friends laughed at the idea that I could possibly be an artist. In fact, that’s absolutely not the point. Brown is currently preparing for a survey of her work at the Louisiana Museum of Modern Art in Denmark, which will open in November – the latest in a series of solo exhibitions at the museum devoted to contemporary painters. AB: Do you think your paintings are contained? Cecily Brown: I’ve been painting these smaller works for a long time. And I always find it very hard at the end of a day of painting to be able to see what I was doing that day, because you’re so close to it. ‘There’s a painting in here that I started in 2005 and just finished,’ she says, nodding toward a depiction of an androgynous nude dissolving into a protean field of gestural marks. AB: What are you currently working on? AB: The book includes a few more paintings than in the exhibition. Her combination of sexual content and bravura brushwork, inviting comparisons to de Kooning, quickly captured the attention of the New York art world: along with contemporaries such as John Currin and Lisa Yuskavage, she was hailed as bringing about a revival in painting – a new ‘New York School’. Cecily Brown is a London-born contemporary artist based in New York City, who combines figuration with abstraction to explore themes of sexuality, pornography and attraction. The title Studio International is the property of the Studio International Foundation and, together with the content, are bound by copyright. Cecily Brown. As the child of somewhat bohemian parents, she grew up immersed in the arts. Brown's vigorous and tactile oil paintings evoke the breadth of human experience, particularly the emotions associated with touch, pleasure, and passion. Cecily Brown est une peintre britannique.Née à Londres en 1969, elle est la fille de David Sylvester, écrivain et critique d'art.Depuis 1994, elle vit et travaille à New York, aux États-Unis.. En 1997-1998, elle se fait remarquer pour une série explicitement érotique.. Œuvre. The excitement of doing a show like this is that I get to see what I’ve been doing for the past 20 years,’ she says. This has made many compare her to painters such as Francis Bacon and Francisco Goya, and she is furthermore credited as a central figure in the resurgence of painting at the turn of the millennium. Because I put things aside a lot, I thought I had so many. Often I’ll just paint and not really look at what I’m doing for a few hours. It of course helped that Jim had written an essay for an exhibition I did about five years ago, and in it there was a passage about one of my small paintings, which I’d always thought was just so fabulous. They’re not at all. This is something that feels very much for myself, for my own research. Courtesy: the artist and Blenheim Art Foundation; photograph: Tom Lindboe. (246.4 x 261.6 cm.) Brown studied at the Slade School of Fine Art in London before relocating to New York at the age of 25 in order to distance herself from the Young British Artists and their focus on new media. Photo: Tom Lindboe. 1969) Carnival and Lent signed and dated ‘Cecily Brown 2006-2008’ (on the reverse) oil on linen 97 x 103 in. Cecily Brown (b. Brown observes: "It would be ironic if this horrible period in our history was producing really good art, for a change. One of the hardest things about leaving the studio is when you’re still working, and then the frustration of knowing that you can’t really change it the next day. The title of the show, The English Garden, highlights the pastoral quality of the paintings, as well as their more intimate, private nature. Help! SoHo was still very alive with galleries, and there was loads of good art, stuff that I hadn’t seen before, like Koons, Richard Prince, and Mike Kelley. There was a middle period when they were becoming just so overworked. Photo: Nina Subin. Previous Slide Next Slide. Every centimetre is teeming with energy and yet it is very contained. CB: This is one of those really frustrating ones because I liked it too early on, which is always a bit of a trap. Share on Facebook; Share on … The earliest ones in the exhibition date from 2005. Though the nude body still features prominently in Brown’s work, her paintings became less explicitly sexual over the years, relying on a more latent eroticism in place of overt depictions of sexual activity. And at the time I thought that I loved pastel and that I should really do more. It won’t be hung chronologically, but I think there’s a logic.’, Jicky (2009–10), Cecily Brown. Share. ), Figures in a Landscape I (2001), Cecily Brown. 1969) Blonde Eating Birds signed and dated 'Cecily Brown 2011-2012' (on the reverse) oil on canvas 67 x 65in. Painted in 2011-2012 Provenance. Your email address will not be published. Simultaneously channelling the Old Masters and Abstract Expressionism, her paintings combine rigorous compositional structure with a sense of intuitive intensity. Painted in 2006-2008. Alexandre da Cunha – interview: ‘All my work is about combining things and making them have a conversation, or sometimes an argument’ Danh Vo: Chicxulub. Cecily Brown. I couldn’t believe how much art there was everywhere.’, Untitled (1997), Cecily Brown. ‘These ancient rock paintings are unlikely to be about what was for dinner’. Matisse: The Books – book review. The Brooklyn Museum just acquired via gift Triumph of the Vanities II (2018), one of two grand canvases that recently hung at the Metropolitan Opera. Untitled (2018), Cecily Brown. I had made a huge lithograph on paper. What makes you shift from wanting to make an oil canvas to producing a work on paper? And when it gets to be too much, I have to edit the painting. In an interview for Louisiana Magazine, Cecily Brown underlined the importance of a stone she found on the beach at Louisiana and press photos from ongoing global conflicts for the process. Required fields are marked *, A decade after the uprisings that led to the downfall of Zine El Abidine Ben Ali, the clocks he loved remain, The region is full of important sites that have not yet been fully recorded or studied, The Syrian-born, US-based artist talks to Gabrielle Schwarz about his sculptural dioramas of cities ravaged by war – and offers a message of hope for the future, On Tuesday, the Supreme Court of India dismissed objections to the construction of a new parliament complex in New Delhi. That’s usually the first thing I say about them. Rape of the Sabines has been a subject that I’ve always been drawn to, even though it’s a horrible subject. In the massive triptych, Photo: Brandon Israels & Doug Volle; © Cecily Brown. But some of the most amazing paintings in history are of that subject. Cecily Brown, Hunt After Frans Snyders, 2019, Oil on Linen, 61 x 71 inches, Courtesy of the Artist Photograph: Sutton Comms. at Paula Cooper Gallery, New York. ‘Subjectwise, I’ve always thought I have a lot in common with [the YBAs],’ she says. Though drawing has always played a crucial role in her process, Brown had never shown them in large numbers until an exhibition in 2016 at the Drawing Center in New York, which subsequently travelled to the Museum of Contemporary Art Santa Barbara. The point of this exhibition is to show a body of work that has been going on for 10 years, side by side with the larger canvases. View this issue; Subscribe; Follow Us Follow us Like us Follow us Subscribe . AB: And you managed to get the detail just from that. But, I’d been saying I wanted to be an artist all my life, so there was encouragement.” Cecily Brown, New York, 2020. Ayako Suwa: Taste of Reminiscence, Delicacies from Nature. Cecily Brown. London-born painter Cecily Brown creates vivid, atmospheric depictions of fragmented bodies, often in erotic positions, that are depicted among swells of color and gesture. Then by the next day it’s hard to change it. In addition to her paintings, the Louisiana exhibition will include a selection of drawings and prints, aspects of her work that have tended to receive less attention. Cecily Brown is considered a central figure in the resurgence of painting at the turn of the century. Name that Tune (2012), Cecily Brown. ‘Cecily Brown: Where, When, How Often and with Whom’ is at Louisiana Museum of Modern Art, Humlebaek, from 8 November–10 March 2019 Photograph: Alicia Canter/The Guardian. As the smaller works are made while I’m sitting down, it’s a smaller movement that I’m making, and the brushes I’m using are smaller. For years, the canvas sat untouched in the corner of her studio, but she couldn’t quite bring herself to throw it away. Help! ‘I hadn’t looked at my Hogarth drawings for many years, and when I went back to look at them in preparation [for the Drawing Center show], I was struck by how completely I’ve ripped off Hogarth’s compositions over and over.’ The influences are not, however, exclusively art historical: a group of works from 2013 was based on the cover of Jimi Hendrix’s 1968 album Electric Ladyland, which featured a harem-like photograph of 19 young nude women lounging on the ground, holding copies of his records. Cecily Brown (b. That encouragement was well placed. Photograph: Alicia Canter/The Guardian. Brown believes the line was intended as an insult, but she loves the description. So maybe in total there were around 45. When you walk into a gallery and see a big painting, it’s sort of overwhelming. Keeping time – the Tunisian clock monuments that tell of a bygone regime, The medieval Armenian monuments in Nagorno-Karabakh must be protected, Queen of suspense – the art of Patricia Highsmith, Jennifer Packer’s paintings pack a punch at the Serpentine, How Bologna pioneered the art of anatomical wax modelling, A Diego Rivera mural is the San Francisco Art Institute’s prize asset – but that doesn’t mean it should be sold, The pyramids at Giza looked very different when they were first built, A cultural tour of Jon Snow’s bookshelves, Art businesses must get creative if they’re going to survive this crisis. Photo: Rob McKeever; © Cecily Brown. We met the British painter at her New York studio for a talk about borrowing imagery from other artists, and how she has always responded to dark, scary art. AB: Presumably that means that you are also in a very different frame of mind. Cecily Brown knows that desire lies in the flirtation: amid her fervent gestural abstraction, just the glimpse of suggestion is enough. Literature. It was very obsessive. Sylvester introduced her to the painter, Francis Bacon, when Brown was still young and the influence of Bacon has remained a constant. Krištof Kintera – interview: ‘Humour helps us to survive’ Dana Schutz: Shadow of a Cloud Moving Slowly. And with these, it’s more mental and less physical. 240-243 (illustrated in color). Just as she was wrapping up her art school studies, the trendy Young British Artists were making their mark. ‘For me, seeing a group of works together in a show is like the final part of the whole process of making paintings: seeing how they relate, what story they tell, and what they mean once they’re in the world. Preview and subscribe here. • Cecily Brown, Blenheim Palace, Woodstock, UK, until 3 January 2021 Appeared in The Art Newspaper , 327 October 2020 More Interview Topics Print Cecily Brown Painting Contemporary art ‘That’s just who I was, and I thought it was fun to embrace the attention. Allie Biswas: How long have you been working on these smaller canvases? Cecily Brown (b. Sometimes I’ll get rid of something, even if I like the way the painting looks from across the room, if it has that dryness or built-up quality. “Someone once described my work as looking like someone had thrown a hand grenade into a Versace store,” the painter Cecily Brown tells Michael Frahm, director of the Blenheim Art Foundation, in an interview published to promote her new exhibition at the country house. Provenance. But, partly because of the small nature of them, because they’re so easy to store and keep, I actually didn’t have as many as I had thought. The rhetoric that has traditionally been applied to reinforce concepts of both a feminine style of painting and feminine subject matter, while not completely absent from critiques of Brown's vigorous, unrelenting style and unapologetic themes, stands out as ridiculousl… In spite of the summer heat, the studio is busy with activity. You can make a rash decision, and it’s the most dramatic thing you could have done, and something that shouldn’t have worked did actually work. But, I’d been saying I wanted to be an artist all my life, so there was encouragement.” Cecily Brown, New York, 2020. I wanted to do a book instead of a catalogue, so Jim decided he would write a short story. Her style displays the influence of a variety of painters, from Francisco de Goya, Willem de Kooning, Francis Bacon and Joan Mitchell, to Old Masters like Rubens and Poussin, yet her works also present a distinctly female viewpoint. Help! AB: I know that you frequently use work by other artists as your source. But it is about finding that balance. Originally scheduled to open in April 2020, “Cecily Brown at Blenheim Palace” presents more than 30 site-specific, never-before-seen works that mark an epic series of firsts for both the estate and the artist. ‘Franz Kline said “oil paint never behaves the same way twice” and it’s true’, observes Brown (C. Brown, quoted in ‘Interview: Silvia Köpf in Dialogue with Cecily Brown’, in Cecily Brown, exh. You see it more in black and white. “I want visitors,” said Brown in an interview conducted for the exhibition, “to do a double-take, to think for the a second that my work belongs there, but then to see that it’s a slightly distorted vision of the world depicted around them.” Cecily Brown, Armorial Memorial, 2019. In works such as Name That Tune (2012), she depicts crowds of nude women, their bodies mostly rendered as blurred passages of peach and brown. But you also have to step outside of the work. CB: I think there are definitely moments when my painting is very energetic, but it can become almost spewing at times. ‘I’m someone who always draws on other people’s work, so now I can steal from myself as much as I have from other artists.’. cat., Essl Museum, Klosterneuburg, 2012, p. 32). It’s very much this game of stepping outside and then throwing yourself back in. While their compositions and motifs are similar to those in her paintings, the monotypes require Brown to work more quickly, giving them a loose, spontaneous quality: in one example, recalling her earlier paintings of couples in a landscape, two recumbent figures embrace, rendered as a series of fluid, wavy lines against a ground of bright green. AB: Would you describe these works as preparatory? Jason Rosenfeld interviews painter Cecily Brown on the occasion of her recent exhibition A Day! Cecily Brown’s 5.36 sq metre work The Triumph of Death on display at Blenheim Palace. Still from “Cecily Brown: Take No Prisoners” From the Quarterly. But there are more that are unfinished, or that I wouldn’t let out. ‘If I’d shown somewhere else down the street in SoHo, it could have gone completely unnoticed, and I’d just be another oil painter who liked Old Masters.’ The spotlight intensified when she left Deitch for the powerhouse Gagosian Gallery in 1999, at the age of 29. CB: For this one I was working from an image that was three inches square, which I’d ripped out of a newspaper. Ayako Suwa: Taste of Reminiscence, Delicacies from Nature. AB: Do you find that your painting process changes significantly when you’re working at this type of scale? CB: It is a quieter process, definitely. So I went back into it. CB: Yes, the scale definitely changes things. —Cecily Brown. Cecily Brown might have settled for a comfortable spot in the London art scene where she'd have been quite at home. Then I’ve had it in the corner for the last week, and decided that it’s really not completed. Studio International is published by: That’s what I’m always after. • Cecily Brown: The English Garden is at Maccarone in New York until 20 June. ‘The nice thing about getting older as an artist is that you have your own work to draw on,’ Brown says. Another Day! In her current exhibition at Maccarone, New York, Cecily Brown presents a selection of her paintings made during the course of the past decade. ‘So much of the pressure is “what to paint,” but because I had 20 years of subjects to choose from it flowed’ – and decided to repeat the process in monotypes, working with her longtime printer, Two Palms. There was one moment when I started calling them the Neurotic Paintings. See more ideas about Brown painting, Painting, Art painting. Copying Hogarth is a really good way of learning how to use space. Brown modestly attributes her early success to ‘good luck and timing’ as much as anything else: ‘When Jeffrey Deitch first showed my work, it really helped that he’d never shown a painter before,’ she says. AB: Is this lithograph a copy of something? I don’t have to walk around the canvas or stoop over it. Photo: Tom Lindboe. It feels very illustrative. The main difference between these and the large-scale works is absolutely due to the way each is made. The exhibition includes 29 works. (She didn’t learn of her real paternity until she was 21, previously believing Sylvester to be merely a close family friend.) Cecily Brown (born 1969) is a British painter. INTERVIEW DIRECTORY // PODCAST // PUBLICATIONS. Untitled (Shipwreck) (2016), Cecily Brown. ‘John Currin was in half the same shoots as I was’ – including the Vanity Fair spread – ‘and he never got roasted for it,’ she says. Presenting a world that pulses with excesses and appetites, Cecily Brown explores the breadth of human experience in tactile oil paintings. Contemporary Fine Arts, Berlin. Installation view of Cecily Brown at Blenheim Palace, Blenheim Palace, 2020. Sylvester introduced her to the painter, Francis Bacon, when Brown was still young and the influence of Bacon has remained a constant. By the end of the decade, the bunnies had been replaced by human bodies: in works like Figures in a Landscape 1 (2001), Brown arranged overlapping, mid-coital nudes into expressive all-over compositions that obliterated the distinction between figure and ground, placing tangles of flesh-coloured strokes against loosely pastoral backdrops of verdant green. Cecily Brown's emergence as a female artist capable of challenging the gendered status quo not only of the art world but of what many regard as the hyper-masculinity of the Abstract Expressionist movement is perhaps her most lasting contribution. 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Child of somewhat bohemian parents, she grew up immersed in the studio Foundation...

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