Artist of the Month (January)
Untitled (The Beautiful and the Damned) (2013), photo by Rob McKeever, copyright Gagosian Gallery 2016, via Artsy.
Cecily Brown is a contemporary painter who makes large, exuberant canvasses. A native of London, she is currently based in New York City. Her work is gestural, immediate, and bold; in the above piece (9 x 14 ft), there are moments where it feels as if she’s slashing the page. They are also very musical: like a symphony conductor, Brown seems to command her colors into motion as lively tableaus unfold. Recalling those of her stylistic ancestors—Claude Monet, Willem de Kooning, and Joan Mitchell—Brown’s chaotic forms blend into a single whole, at least from a distance. Up close, however, the viewer can appreciate the beauty of the disjointed, intricate fragments composing each ensemble. I enjoy how exciting and fresh her paintings appear. She’s playing with shapes and images and ideas in her works that are familiar and quotidian to us: human anatomy, body language, nature, sex. Combining abstraction and figuration, Brown embeds these motifs within her pieces, hiding them inside amorphous masses.
Brown recently had a solo show at the Drawing Center in downtown Manhattan that was on through December 2016. According to the museum, Cecily Brown: Rehearsal was New York’s first institutional survey of her work and the first exhibition in general to concentrate specifically on her drawings (“The Ecstasy of Drawing” headlines a review by Hyperallergic). In 2015, she received praise from an early skeptic, NY Times critic Roberta Smith, for The English Garden, a gallery presentation at Maccarone. It featured smaller paintings than Brown usually offers, though her traditionally lighthearted approach to titles prevailed: “The Home of the Brave,” “First I go in, then I go out,” and “Oh I do like to be beside the seaside” were among the selection. If, like me, you didn’t make it to either of these shows, nor past ones at Gagosian, I would suggest watching Brown’s Artist Project for the Met, in which she talks about Medieval sculptures and what contemporary artists can glean from them.
Brown is often grouped with other female painters who emerged in the Nineties such as Amy Sillman and Charline von Heyl. As a “star” of the New York art scene, she has also been compared to Philip Guston and Francis Bacon. Her art is so popular, it seems, that Brown now has an alleged copycat, California’s Sherrie Franssen (although the strange similarities between their works could just be a product of a shared enthusiasm for de Kooning). Furthermore, as per an excerpt from Artsy‘s bio of Brown, she is credited alongside individuals like John Currin “as a central figure in the resurgence of painting at the turn of the millennium.” But to learn more about her particular background and process, instead of seeing Brown exclusively in tandem with other artists, check out this video, in which she fills you in herself:
What are your thoughts on Cecily Brown? Comment below with anything that comes to mind.