woensdag, januari 27, 2016

Jason Schmidt: Artists #1


Antony Gormley, London, 2002.


Cecily Brown, New York, 2003.

"Some of these paintings are completely inverted; some are done from a combination of sources. Having flowers around to work from is useful...I'll paint directly from the flowers, then from my head, then from photos of gardens or of other peoples' paintings. It seems to work best to mix it up. The black paintings began as a way of escaping from the gnarly, very colorful, and complex landscapes. I was getting very bogged down and wanted to make a more direct image, something more immediately legible. Now I move freely between the more graphic paintings and the fractured ones, working on them all at once and ideally hanging them together. I would love to get rid of the terms "abstract" and "figurative." I like each painting to contradict the last; I like the uncertainty. I'd like the work to be an argument full of interruptions, disruptions, and illogical decisions. I don't want to say, 'This is the way it is.'"


Chris Burden, Topanga Canyon, California, 2005.

"The photo shows me walking at sunset on the hillside above my studio. I have installed the sculpture Urban Light around two sides of my studio. Urban Light is an artwork that I created by amassing a huge collection of 1920s cast-iron streetlamps from Los Angeles and its many adjacent cities.
By placing 170 antique lamps close together in long colonnades, I have usurped the streetlamp's function. Together they form a sculpture. The viewer's experience of traversing these fluted columns is an exalted one that recalls the marvel of walking through classical Greek and Roman architecture or a European cathedral. The feelings of recollection and wonder transform the streetlamps into the sculpture, Urban Light."


Donald Baechler, New York, 2007.


Elizabeth Peyton, New York, 2004.

"This picture was taken in a studio on Greenwich Street in New York that I had from February 2004 to the end of April 2004. The studio was across the street from Gavin Brown's Enterprise—the gallery I've shown with for the past ten years and for which I was preparing a show during those months. Being so close to the gallery, the studio had a very familial atmosphere, and more and more I was asking people to come by so I could paint them from life. Everyone who came into the studio ended up sitting in this chair by the window—everyone looked great in this corner—whether it was flooded with afternoon light or inky black from the nighttime. The light at the moment this picture was taken was my favorite time—when the sun would begin to disappear and leave me alone. The works in the background are some drawings of people I was working with while making the show. The large, colorful one is Andre 3000 in his double sunglasses, performing at the VH1 awards. There is a pencil drawing of Laura Owens taking a break from painting, playing computer games, and another light pencil drawing of Annette Aurell in the studio, in the chair I'm sitting on in the picture."


Frank Stella, Rock Tavern, New York, 2011.


George Condo, New York, 2006.

"Sitting in my studio, surrounded by the parts and pieces of what is going through my mind. In the middle of painting the mad scientist and his wife, looking tired but feeling good, finished the Kerouac Book of Sketches cover, anticipating the exhibition of existential portraits in New York, and practicing the tenor viol—learning one of Orlando Gibbons's fantasias for three parts—smoking and drinking...." (bron en foto's; Jason Schmidt)

Honderden kunstenaarsportretten van Jason Schmidt zijn te zien bij de bron (hk).

> Antony Gormley
> Donald Baechler

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