Amy Sherald (American b. Columbus, GA 1973, lives Baltimore) received her MFA in Painting from Maryland Institute College of Art (2004) and BA in Painting from Clark-Atlanta University (1997), and was a Spelman College International Artist-in-Residence in Portobelo, Panama (1997). In 2016, Sherald was the first woman to win the Outwin Boochever Portrait Competition grand prize; an accompanying exhibition, The Outwin 2016, has been on tour since 2016 and opened at the Kemper Museum, Kansas City, MO in October 2017. Sherald has had solo shows at venues including Monique Meloche Gallery, Chicago (2016); Reginald F. Lewis Museum, Baltimore (2013); and University of North Carolina, Sonja Haynes Stone Center, Chapel Hill (2011). In May 2018, she will present a solo exhibition at Contemporary Art Museum, St. Louis, MO. Group exhibitions include SouthernAccent, Nasher Museum of Art at Duke University, Durham, NC (2016), travelled to Speed Museum of Art, Louisville, KY (2017); and Face to Face: Los Angeles Collects Portraiture, California African American Museum, Los Angeles (2017). Residencies include Odd Nerdrum Private Study, Larvik, Norway (2005); Tong Xion Art Center, Beijing, China (2008); Creative Art Alliance, Baltimore (2016); and Joan Mitchell Foundation, New Orleans (2017). Public collections include Embassy of the United States, Dakar, Senegal; National Museum of Women in the Arts, Washington, D.C.; Smithsonian National Museum of African American History and Culture, Washington, D.C.; Smithsonian National Portrait Gallery, Washington, D.C.; The Columbus Museum, Columbus, GA; Kemper Museum of Contemporary Art, Kansas City, MO; and Nasher Museum of Art, Durham, NC.
Genet was among the leading French writers of the twentieth century. Seeing himself as an outsider, he celebrated his homosexuality and criminal past in his work. He also wrote a short book on Giacometti. Like many of Giacometti’s portraits, this work uses a reduced palette of colours, and gradually builds its likeness of Genet with a series of small tentative brushstrokes. This technique creates a tense, shifting outline around the figure, which parallels the rough, highly-worked surfaces of Giacometti’s sculptures.
Jenna Gribbon was born in 1978 in Knoxville, USA, and lives and works in Brooklyn, New York. She received her MFA from Hunter College. Gribbon’s paintings of nudes pay homage to the moment when light touches skin. Her lush brush strokes capture her friends, son and girlfriend in intimate portraits. Her work carefully examines the implications and responsibilities of looking through what she calls a ‘scopophilic feedback loop’. Thereby, the titles provide a key for a complete understanding of her works. As she rarely finishes a canvas within one sitting, Gribbon often builds her work on the basis of photographs as a means of how we memorise and experience. Gribbon’s paintings of those closest to her vividly capture instants of pure joie de vivre. Her work has been exhibited widely in the USA, Germany, UK, South Korea, Norway, Finland and Switzerland.
Flowers smudge the foliage in [Jennifer] Packer’s still lifes, the small canvases filled with greenery and darkness and sobriety. The titles of these flower paintings tell us that they are more than nature studies. Say Her Name is a funerary bouquet for Sandra Bland, found hanged in her cell in a Texas jail while in police custody in 2015. Packer’s flower paintings are memento mori for the named and the unnamed, and punctuate all the figures, portraits and rooms in her Serpentine Gallery show.
I remember reading that the young Balthus was deeply influenced by Derain’s remark, “The only purpose of painting today is the recovery of lost secrets.” That observation was made almost a hundred years ago now, but it still resonates with me.
A painting is an intensely personal vision. It is intuitive and its meaning can be elusive—sometimes even to the painter. Each painting is a piece of something that you can spend a lifetime trying to figure out. It’s a revelation of the unseen, the hidden. And sometimes a painting is as much about what isn’t seen as what is.
My work is about relationships, and about separateness. But fundamentally the paintings are about the self. I'm interested in that place of tension between the containment and the expression of feeling, and in how to portray that visually.
My paintings depict individual men, but they aren't portraits. The men inhabit a particular place, but it isn't real. It's an interior territory, where things are and are not what they seem. The paintings are like stages, and the men who inhabit them are the actors. The reality lies in the emotional core of this world, intensely felt but highly contained. My model Lorenzo called it "emotional purgatory.”
They're a group of anonymous men, but they’re also in some way self-portraits. And perhaps these are worlds of their own making—worlds with edges, and outsides, and unknown terrains beyond, just out of reach. This is the region where desire and doubt, longing and reticence, intimacy and uncertainty coexist. It speaks of absence as much as presence.
The Colony Room I, 1962 - Michael Andrews’s painting of one of 50s and 60s Soho’s most storied drinking dens, the Colony Room, is a who’s who of the art scene. That hot pink collar belongs to Francis Bacon. Artists’ model Henrietta Moraes is centre-stage. A chiselled Lucian Freud looks us straight in the eye. At the bar, Muriel Belcher, the club’s proprietor, strikes a pose.
Melanie and Me Swimming (1978–9)
Michael Andrews RA (30 October 1928 – 19 July 1995) was a British painter. Michael Andrews played a deaf-mute in Lorenza Mazzetti's Free Cinema film Together, alongside Eduardo Paolozzi (1955). Lorenza Mazzetti (26 July 1927 – 4 January 2020) was an Italian film director, novelist, photographer and painter. In the 2020 novel, Summer by writer Ali Smith, Mazzetti plays a cameo, but significant role. Her life story, as well as reference to her early films, are included.
January 19, 2017 - Narrated by exhibition curator and friend of the artist, Richard Calvocoressi, "Michael Andrews Elusive Painter" introduces the artist and his work, unknown to many, and reveals the curatorial vision behind "Earth Air Water," on view at Gagosian Grosvenor Hill, London through March 25, 2017. This documentary, accompanied by unseen archival material, as well as footage of the only existing filmed documentation of Andrews, is a biographical overview of the late British painter.
La Femme Damnée - Nicolas François Octave Tassaert, 1859
Nicolas François Octave Tassaert (Paris, 26 July 1800 – Paris, 24 April 1874) was a French painter of portraits and genre, religious, historical and allegorical paintings, as well as a lithographer and engraver. He was the grandson of the sculptor Jean-Pierre-Antoine Tassaert.