PINK
September – October 2023
R.C. Baker
Eric Brown
Deborah Buck
Bell and Ganassi
Mr.
Jaye Moon
David Salle
The color pink was used by ancient Egyptians, Greeks, and Romans, and gained prominence as a distinctive hue during the Rococo era in the 18th century. The 20th century marked a shift in its significance, as pink came to be a subject, to convey light, emotion, and a sense of fleeting moments. The exhibition PINK deconstructs the themes of identity and sexuality, dismantling gender binaries while confronting vulnerability and intimacy. The artists who harness the power of pink in the featured works wield enormous influence in evoking emotions, questioning norms, and shaping narratives using the multiplicity of interpretation. PINK is a pursuit of breaking stereotypes, signaling emotional abundance with great vigor.
Holy of Holies exists at the intersection of two legends: Lou Reed and Andy Warhol. Lou claimed that the Velvet Underground’s first album sold only 30,000 copies, yet it became one of the most influential rock records of all time. Andy, the band’s manager, created the banana-peel cover, a sendup of the macho ethos of rock ’n’ roll that neither the gay, devoutly Catholic artist nor the group shared. Holy of Holies is a shrine to a Downtown scene that reveled in camp but suffered no fools.
Truman Capote turned women into his swans elevating them to an elegant closed club and the fairy tale The Ugly Duckling.
Deborah Buck
The Swan, 2023
Acrylic and sumi ink on board with vintage ebonite and silver gilt frame
23 X 19 in.
Mr.’s work aspires to blur the distinction between the interior and exterior inhabited by familiar objects that are conversely used to communicate the unfamiliar. Mr.’s ongoing exploration of otaku, the Japanese “cute” subculture marked by an obsession with technology, sci-fi literature, anime, and video games, is characterized by bright colors and uplifting imagery. Like Superflat artists, Mr. approaches the visual language of manga.
MR.
Untitled, 2012
Acrylic painting on the found snowboard
13 x 61 in
Bell and Ganassi
The Corpses: Party Like Barbie, 2023
Mixed media on cardboard
14 x 9.5 in.
The visually striking Neon work, People Like You Need To Fuck People Like Me (2012), is Moon’s rework of Tracey Emin’s iconic People Like You Need To Fuck People Like, 2007. Moon transcribed Emin’s tantalizing, confessional message into Braille, and this Braille is converted into numbers. Moon uses this mode of language for the unseen, for its visual and universal utility, to shatter the ice in the silenced discussion of female sexuality. Emin’s feminist message is widely received in the West, yet in many Asian cultures, expressing sexuality, especially female sexuality, is discouraged. By translating Emin’s raw message into numerical code, a form of Braille, Moon opens up the possibility to hail the same message without fear of ostracism or penalty.
Jaye Moon
People Like You Need To Fuck People Like Me, 2012
Neon, transformer
2 6 x 35.4 x 2.6 in
Edition of 5
Central to Eric Brown’s works on paper is process. The artist is pursuing a new abstract vocabulary through the repetition of mark-making. In the process, a painterly minimalism emerges that is direct, unadorned, meditative, and intimate. They lend themselves to metaphors of strength and vulnerability, mending, imperfection, and domesticity.
Eric Brown
Untitled (4-17), 2020
Color pencil and graphite on paper
14 × 11 in.
David Salle invokes 19th-century images, 1950s advertisements, graffiti, cartoons, and photographs. He embraces different moods, styles, and sources, and his compositions alternately invite and reject psychological, associative interpretations that offer commentaries on contemporary life.
David Salle
Overunder (red, blue, white, pink, yellow), 2021
Archival pigment ink print, hand varnished on Innova Etching Cotton Rag 315 gsm
42 x 42 in. , each
Edition of 20
Janet Taylor Pickett
Markings, 2015
Acrylic, collage on canvas
30 x 30 in.
JBGJTP230411170
Janet Taylor Pickett
Fusion, 2015
Acrylic, collage on canvas
30 x 30 in.
JBGJTP230411171
Janet Taylor Pickett
Wrapped Up In Blue, 2015
Acrylic, collage on canvas
30 x 30 in.
JBGJTP230411172
La Charette du Vieux Faubourg, 1945-48
Oil on cradled panel
19 1/4 x 13 3/4 in
Signed
Chappelle St-Louise-De-la-Salpetriere, 2011
Watercolor on paper
16 x 12 in
Signed
Mao, After Picasso, 2012
Oil, ink, collage on canvas
45 X 35 in
Signed
L’Etreinte, 1963
Etching on Rives paper
Edition of 50
16 1/2 x 22 1/4 in., plate size
Bloch #1111
Signed
Aggregation, 2000
Mixed media on Korean Mulberry paper
39 x 58 in
Signed