In general, want to be more bold with both subjects and marks, and not as loud in my need for my audience’s acceptance. I’ve always loved the physical and open sensuality of Frankenthaler. This isn’t sex, but it’s physical and personal, an ease with the movement of her body and the liquid paint. I love her for this.
“Origin of the World” was painted a 150 years ago and modern liberated me in modern liberated Seattle still can’t work up the bravery to match it. It seems simple enough, but imagine the conversation he would have: “Thank you for modeling for me. Lay on the bed here, no not with your legs to the side. I want your legs spread open. And if you would please cover your head, I don’t need it here. And no arms. Bend your knee please. I just want you to expose the single shadowed area you always modestly fold away. Yes, thank you. Don’t move. I’ll need to spend some days here, right here on this little chair … where I can smell you. Oil painting takes a while, and I have no camera. Comfortable? I don’t imagine so. Oh well. I feel fine, and fear no social repercussions from your friends.”
Similarly, the dark couple Hans Bellmer and Unica Zürn were a modern 20’s couple. They used shame like juice. (I’m pretty sure those are Fluevogs.)
And Bacon. That beautiful fabulous intelligently twisted mind meat of a man, Bacon. I like to think we would be friends but for the time difference, and the fact that I’m a minge.
As a teacher of painting, and as a general uptight overachiever who likes to do things with some measure of “success” I’m attracted to realists like Antonio Lopez Garcia. Thank you for the rabbit. That is a rabbit, right? Rabbits are so innocent. Horrifying what this feminine shape does to me, no relief is brought by the idea that it is also food.
I look at Euan Uglow. God he was cold to his models. I haven’t read that, I just see it. That woman must have pained for all those hours spent in that position. Can you even sit like that for 15 minutes?!? And he just had her do it. I don’t sense an empathy here. Uglow didn’t paint as much as he did math on canvas. Color chess, with women’s bodies. I wonder what parts of her lost blood flow, fell asleep, and woke with pins. Maybe that’s why her arms are above her head. The sheer physical pain of her body imitating the sensuality of a leaning 2×4, maybe wondering why she was still there, and should she really come back for another session of this hell. How flattering it is, to be looked at.
There’s no sex in Uglow, but still there is the feminine figure, and very clearly, the object.
Kanevsky liquifies the realism, eliminates the edges, and brings back the movement I am looking for, as does Saville (the pounds of flesh above). Kanevsky’s prom dress guy painting has humor, which is rare, and sentimentality, which somehow works with all the literal and figurative dirt. I look at Kanevsky a lot. And, again, there is the meat. Meat, sex, and figures. Delicious.