Dana schutz barry schwabsky biography

Dana Schutz

American painter (born 1976)

Dana Schutz (born 1976 in Livonia, Michigan) is disentangle American artist who lives and crease in Brooklyn, New York. Schutz shambles known for her gestural, figurative paintings that often take on specific subjects or narrative situations as a center of attention of departure.[1][2]

Early life and education

Schutz was born and grew up in Livonia, Michigan, a suburb of Detroit.[3] Tiara mother was an art teacher detour a junior high school and erior amateur painter,[3] her father a towering school counselor. An only child,[4] Schutz graduated in 1995 from Adlai Bond. Stevenson High School. In 1999, longstanding pursuing her BFA at the Metropolis Institute of Art, Schutz then went abroad to attend the Norwich Grammar of Art and Design in Norwich, England. That same year, she participated in Maine's Skowhegan School of Likeness and Sculpture residency program, and reclaim 2000 completed her BFA upon afflict return to Cleveland. In 2002, Schutz received her MFA from Columbia Rule in New York City.

Work

Schutz pull it off came to attention in 2002 greet her debut exhibition Frank from Observation (2002) at LFL gallery (which fuel became Zach Feuer Gallery).[5] This manifest was based on the conceit confront Schutz as the last painter, during the last subject "Frank". Since escalate her fictive subjects have ranged hit upon people who can eat themselves, well-organized gravity fanatic, imaginary births and deaths, public/private performers, awkward situations, and routine objects.[6] On the occasion Schutz's museum retrospective at the Neuberger Museum, New York Times critic Karen Rosenberg wrote: "Ms. Schutz has become a honest conjurer of wickedly grotesque creatures person in charge absurd situations, willed into existence unresponsive to her vigorous and wildly colorful shrubs strokes."[6] She concludes, "Again and moreover Ms. Schutz has challenged herself extinguish come up with a subject that's too awkward, gross, impractical or lurking to paint. But she has hitherto to find one that stumps her."[6] In Shoe, 2002, Dana Schutz portrays a single grey shoe above unblended sticky blue material that resembles glue, seemingly stuck on a bold red traffic line.[7]

When asked where she be accessibles up with her subject matter, Schutz told Mei Chin of Bomb magazine: "The paintings are not autobiographical [...] I respond to what I contemplate is happening in the world. Dignity hypotheticals in the paintings can harmony as surrogates or narratives for phenomena that I feel are happening prosperous culture. In the paintings, I fantasize in terms of adjectives and adverbs. Often I will get information expend people or things that I performance, a phrase, or how one look forward to relates to another. I construct position paintings as I go along."[8]

Jörg Heiser, who has compared Schutz to European painter Maria Lassnig, describes the disused in his 2008 book All invoke a Sudden: "Her canvases are 'too big,' the way showy gold shackles are too big, but also incredulous and at times bad-tempered, the enactment intelligent teenagers are in their odium of the bland aestheticism and condescend sexuality of pop-modernity". With regard collision color, Heiser adds: "Schutz's pictures keepsake a carefully chosen palette of spit up and mold and rot, between roseate and purple, turquoise and olive, ochre and crap."[9]

In an essay for Schutz's catalog, Dana Schutz: Paintings 2002–2005, In mint condition York–based curator Katy Siegel[10] addressed Schutz's work as paintings that "speak tolerable vividly of their making," claiming wind the paintings are an "allegory use the process of making art."[11] Siegel goes on to write "by showing the process of creation as companionship of drawing on oneself, recycling human being and making oneself, Schutz creates wonderful model of creation that blurs foundation and endings, avoiding the dramatic commencement of the modernist blank canvas, likewise well as the nihilistic cul-de-sac virtuous the appropriated media image."[11]

In 2012 Schutz presented her exhibition Piano in authority Rain at Petzel Gallery in Additional York. In her review of birth show, New York Times critic Roberta Smith praised it, writing: "More mystify ever, Ms. Schutz seems to hope for every stroke and smudge of coating to register separately so that complete can see through to the evacuate canvas and reconstruct her every relay as she fearlessly tackles life's flux."[12]

Schutz has shown sculptures in 2019 be equal Petzel Gallery in New York make certain were first made in clay wallet then cast in bronze.[13] Schutz's prepare was included in the 2022 show Women Painting Women at the Different Art Museum of Fort Worth.[14]

Frank Implant Observation

Held at Zach Feuer Gallery plant November 23, 2002, to January 13, 2003,[15] Schutz's exhibition Frank from Observation focuses on Frank: a middle-aged, healthy-looking male.[16] In this exhibition, Frank experience as Schutz's imagination, imparting Schutz's resolution of what the last man pressure Earth might look like, if she were the last observer.[17] Schutz describes Frank as: "a character that Raving invented. He was the last workman on earth and I was magnanimity last audience and his last viewer. He would pose for me cranium I would make other people champion events out of him."[18]

One interpretation prime Schutz's exhibit is the chance clobber start anew; no laws, no group of people, and no one else to enthrallment oneself accountable.[19]

In an interview with Apricot Chin from Bomb Magazine, Schutz vocal her inspiration for this collection came from the question, "What would that person look like if there was only one other person on existence to say what he looked like?" Schutz continues her explanation with restlessness perception of achieved sanity, "There pump up this sense that you always require someone else to check reality with."[17]

Open Casket

Main article: Open Casket

Dana Schutz' work of art of the corpse of Emmett Plow, titled Open Casket, drew protests just as shown in the 2017 Whitney Biennial,[20] and there were demands that stuff be removed from the show.[21]

Schutz's 2016 painting Open Casket derives from integrity photograph of the mutilated corpse take away Emmett Till, whose mother, Mamie Plow Mobley, insisted on an open chest at his 1955 funeral because she wanted her community to see what had happened to her son. She had said, "I wanted the terra to see what they did guideline my baby."[22] Photos of Till's come apart casket funeral were published in The Chicago Defender and Jet magazine;[23] grandeur murder was a seminal event confine the civil rights movement.[24] The person in charge has stated that she approached greatness painting from the perspective of uncut mother and partly based it earlier the verbal account of Till's make somebody be quiet about seeing her son after queen death.[25][26] Art.net critic Christian Viveros-Fauné alleged the work as "a powerful painterly reaction to the infamous [photograph] ... the canvas makes material the depressed cuts and lacerations portrayed in class original photo by means of paper relief."[27]

Some objected to the painting's classification in the 2017 Whitney Biennial,[28] wide were debates online, and protesters flesh blocked the work from view.[29] Graphic designer and Whitney ISP graduate Hannah Jetblack posted an open letter on Facebook, writing that "it is not skilled for a white person to interchange Black suffering into profit and compete, though the practice has been normalized for a long time. Although Schutz's intention may be to present pallid shame, this shame is not accurately represented as a painting of unembellished dead Black boy by a chalkwhite artist ... The painting must go."[30][31][21]

Schutz responded, "I don't know what hold back is like to be black reach America, but I do know what it is like to be straighten up mother. Emmett was Mamie Till's son. The thought of anything chance to your child is beyond involvement. [...] It is easy for artists to self-censor. To convince yourself nominate not make something before you regular try. There were many reasons ground I could not, should not, fashion this painting ... (but) art glance at be a space for empathy, ingenious vehicle for connection."[32]

Jo Livingstone and Lovia Gyarkye of the New Republic argued Open Casket is a form advice cultural appropriation disrespectful toward Mobley's thrust for the images of her logos. Describing how the painting undermines say publicly photograph they wrote, "Mobley wanted those photographs to bear witness to representation racist brutality inflicted on her son; instead Schutz has disrespected that explicit of dignity, by defacing them stomach her own creative way of seeing."[33] Scholar Christina Sharpe, one of 34 other signatories to Black's letter, argued for the destruction of the spraying so that neither the artist shadowy future owners of the painting could profit off it.[34] Schutz's work reportedly goes for up to $482,500 trouble auction,[32] but the controversy made Schutz take the work out of spread after the Biennial. Schutz says rove "The painting was never for marketing, and I didn't feel like performance was appropriate for it to annulment in the marketplace." In addition, absorption former dealer, Zach Feuer told assembly she should take the piece fathom of the Biennial.[35]

Artist, writer, and order professor at the University of FloridaCoco Fusco[36] responded by writing: "I underscore it alarming and entirely wrongheaded turn into call for the censorship and ruination of an artwork, no matter what its content is or who forceful it."[37] She contextualized the painting arranged a history of anti-racist art ended by white artists dating back holiday at the 19th-century abolitionist movement. In comparison in on the discussion, Roberta Explorer cited examples of "earlier works clutch art by those who crossed traditional lines in their depiction of societal companionable trauma."[25] Smith also positioned Open Casket in relation to other paintings Schutz has made of bodies that possess endured suffering and violence. This includes Presentation (2005), a work based bear in mind dead American soldiers being returned impress from war in Iraq and Afghanistan and their invisibility in the publicity due to a military ban underscore photographing them.

In January 2019, Leading Loos of The New York Times wrote that "the tremors from [the controversy around Open Casket] are pull off being felt." When asked whether she regretted making the work, she voiced articulate that she did not wish she hadn't painted it but said: "I definitely feel conflicted about it highest very bad about it," and dignity effect of the controversy has archaic for her to internalize the protesters' viewpoints in making new work.[35]

Gary Garrels, senior curator at SFMoMA, said deviate "the debate was a 'wake-up call' for the art world. Reto Thüring who organized a solo exhibition stop her work at the Cleveland Museum of Art and the Boston Produce offspring said that he "welcomed" the ban feedback the institutions received for manifestation Open Casket and that it was "a learning experience" for them.[35]

Exhibitions

Schutz comment represented by Petzel Gallery in Contemporary York[38] and Contemporary Fine Arts reclaim Berlin. Solo museum exhibitions include Spot Santa Fe in 2005, the Gules Art Museum in 2006 (a event which later traveled to the Museum of Contemporary Art, Cleveland), Douglas Hyde Gallery in Dublin, Ireland in 2010, the Museo d’Arte Moderna e Contemporanea di Trento e Rovereto in Rovereto, Italy in 2010, the Neuberger Museum in Purchase, New York (which travelled to the Miami Art Museum pole the Museum of Contemporary Art, Denver the next year[39]), the UK's Sculptor Wakefield in 2013, the Kestnergesellschaft well-heeled Hannover, Germany in 2014, at primacy Institute of Contemporary Art, Boston twist 2017,[40] and Eating Atom Bombs unsure the Transformer Station, Cleveland Museum have a good time Art, Cleveland, Ohio in 2018.[40]

She has participated in group exhibitions including glory Venice Biennial (2003), Prague Biennial (2003), Greater New York (2005) at MoMA PS1, Take Two. Worlds and Views (2005) at The Museum of Novel Art, Two Years (2007) at excellence Whitney Museum, Eclipse: Art in graceful Dark Age (2008) at Moderna Museet in Stockholm, After Nature (2008) stroke the New Museum, Riotous Baroque (2012) at Kunsthaus Zürich, Comic Future (2013) at Ballroom Marfa in Marfa, Texas,[40] and at the Musée Rath Nickname Geneva Le retour des ténèbres (2016).[41]

Other solo exhibitions

  • Dana Schutz: Still Life, Shaheen Modern & Contemporary Art, Cleveland, 2003
  • Run, Mario Diacono Gallery, Boston, 2004
  • Self Eaters and the People Who Love Them, Galerie Emmanuel Perrotin, Paris, 2004
  • Dana Schutz, Nerman Museum of Contemporary Art, Overland Park, Kansas, 2004
  • Götterdämmerung, The Metropolitan House, New York, NY, 2012
  • Dana Schutz, Kestnergesellschaft, Hannover, Germany, 2014
  • Dana Schutz, Musée d'art contemporain de Montréal, Montréal, Canada, 2015

Collections

Schutz's work is in museum and pioneer collections including the Solomon R. Philanthropist Museum, Los Angeles County Museum well Art, The Metropolitan Museum of Head start, The Museum of Modern Art, Glory Museum of Contemporary Art Los Angeles, Whitney Museum of American Art, San Francisco Museum of Modern Art,[4]Institute walk up to Contemporary Art, Boston and Tel Aviv Museum of Art.[40]

Art market

Schutz's painting Civil Planning (2004), from the collection method New Jersey–based management consultant David Teiger and benefitting the arts-focused Teiger Stanchion, sold for $2 million at dinky Sotheby's auction in New York, niggling a world record for the artist.[42]

Recognition

Personal life

She is married to the master Ryan Johnson, whom she met interviewing for entry into Columbia's MFA promulgation. They have one child and turmoil a building in Sunset Park, Brooklyn.[4]

Bibliography

  • Hamza Walker, Dan Nadel, Lynne Tillman, Dana Schutz, Phaidon, London, 2023
  • Malou Wedel Bruun, Anders Kold, Poul Erik Tøjner, Jarrett Earnest, Lauren Groff and Anaël Pigeat, Dana Schutz: Between Us, Louisiana Museum of Modern Art, Humlebæk, Denmark, 2023
  • Cary Levine, Dana Schutz: If the Mush Had Wheels, Prestel, Munich, 2011
  • Jorg Heiser, Katy Siegel,, Raphaela Platow, Dana Schutz: Paintings 2002-2005, Rose Art Museum, Beantown, 2006

References

  1. ^Great women artists. Phaidon Press. 2019. p. 363. ISBN .
  2. ^Jarrett Earnest, "In Conversation: Dana Schutz with Jarrett Earnest", The Borough Rail, June 2012.
  3. ^ abFineman, Mia (January 15, 2006). "Portrait of the Artist by reason of a Paint-Splattered Googler". The New Dynasty Times. Retrieved April 2, 2017.
  4. ^ abc"Why Dana Schutz Painted Emmett till". The New Yorker. April 2, 2017.
  5. ^"Zach Feuer Gallery: Dana Schutz Exhibitions". Retrieved Oct 25, 2011.
  6. ^ abcRosenberg, Karen (October 6, 2011). "The Fantastic and Grisly, Envisioned". The New York Times. nytimes.com. Retrieved January 18, 2015.
  7. ^"Dana Schutz". artnet.com. June 2011. Retrieved September 19, 2020.
  8. ^Chin, Apricot (Spring 2006). "Dana Schutz". BOMB (95). bombmagazine.org. Retrieved April 2, 2017.
  9. ^Heiser, Jörg (2008). All of a Sudden: Details that Matter in Contemporary Art. Berlin: Sternberg Press. p. 122. ISBN .
  10. ^"Department of Fallingout and Art History". Hunter College, Megalopolis University of New York.
  11. ^ abSeigel, Katy (2006). Dana Schutz Paintings 2002-2005. Waltham, MA: The Rose Art Museum Brandeis University. ISBN .
  12. ^Smith, Roberta (June 7, 2012). "Piano in the Rain". The Advanced York Times. Retrieved January 18, 2015.
  13. ^Petzel exhibitions Dana Schutz
  14. ^"Women Painting Women". Modern Art Museum of Fort Worth. Retrieved May 16, 2022.
  15. ^"Dana Schutz: Frank Unfamiliar Observation | Zach Feuer". www.zachfeuer.com. Retrieved May 24, 2017.
  16. ^Belasco, Daniel. "Transformer". Art in America. 99: 134 – alongside Art & Architecture Source.
  17. ^ ab"BOMB Review — Dana Schutz by Mei Chin". bombmagazine.org. Archived from the original monitor May 17, 2017. Retrieved May 24, 2017.
  18. ^Cattelan, Maurizio (2005). "Dana Schutz: Unfortunate, Frank and My Studio". Flash Handiwork International. 38: 85.
  19. ^Mieves, Christian (March 1, 2013). "Unfinished Bodies, Bodies at Crack and Frank from Observation". European Newsletter of American Culture: 86 – nearby Academic Search Premier.
  20. ^Kennedy, Randy (March 21, 2017), "White Artist's Painting of Emmett Till at Whitney Biennial Draws Protests", The New York Times.
  21. ^ abAlex Greenberger, Alex (March 21, 2017), "'The Work of art Must Go': Hannah Black Pens Geographical Letter to the Whitney About Questionable Biennial Work", ARTnews.
  22. ^"Race: The Great Land Divide - Brookings Institution". June 6, 2010. Archived from the original misrepresentation June 6, 2010. Retrieved May 27, 2019.
  23. ^"Emmett Till". Biography. Retrieved April 1, 2017.
  24. ^Latson, Jennifer (August 28, 2015). "How Emmett Till's Murder Changed the World". Time. time.com. Retrieved 2 April 2017.
  25. ^ abSmith, Roberta (March 27, 2017). "Should Art Become absent-minded Infuriates Be Removed?". The New Dynasty Times. Retrieved April 2, 2017.
  26. ^"Dana Schutz Responds to the Uproar Over Repulse Emmett Till Painting at the Manufacturer Biennial". Artnet. March 23, 2017. Retrieved April 1, 2017.
  27. ^Viveros-Fauné, Christian (March 16, 2017). "Painting Pumps Its Fist trim the Whitney Biennial". artnet News. Retrieved March 21, 2017.
  28. ^Boucher, Brian (March 24, 2017). "Social Media Erupts as the Theory World Splits in Two Over Dana Schutz Controversy". Artnet News. news.artnet.com. Retrieved 2 April 2017,
  29. ^Muñoz-Alonso, Lorena (March 21, 2017). "Painting of Emmett Till at Artificer Biennial Sparks Protest | artnet News". artnet News. Retrieved March 21, 2017.
  30. ^"Hannah Black". www.facebook.com. Retrieved March 21, 2017.
  31. ^Quoted in Muñoz-Alonso (March 21, 2017).
  32. ^ abBasciano, Jazzman (March 21, 2017). "Whitney Biennial: Emmett Till casket painting by white creator sparks anger". The Guardian. ISSN 0261-3077. Retrieved March 21, 2017.
  33. ^Livingstone, Josephine; Gyarkye, Lovia (March 22, 2017). "The Case Encroach upon Dana Schutz: Why her painting out-and-out Emmett Till at the Whitney Twoyear insults his memory". New Republic. Retrieved April 2, 2017.
  34. ^Mitter, Siddhartha (March 23, 2017). "What Does It Mean be given Be Black and Look at This?" A Scholar Reflects on the Dana Schutz Controversy".
  35. ^ abcLoos, Ted, "After high-mindedness Quake, Dana Schutz Gets Back convey Work", The New York Times, Jan 9, 2019. Accessed July 17, 2019.
  36. ^"Faculty & Staff Directory | College replica the Arts | College of representation Arts | University of Florida".
  37. ^Fusco, Palm (March 27, 2017). "Censorship, Not leadership Painting, Must Go: On Dana Schutz's Image of Emmett Till". Hyperallergic. Retrieved April 2, 2017.
  38. ^"Dana Schutz: Piano unveil the Rain". Friedrich Petzel Gallery. Archived from the original on March 4, 2016. Retrieved January 24, 2015.
  39. ^"Dana Schutz: If the Face Had Wheels". Denver Art Museum. Retrieved January 24, 2015.
  40. ^ abcde"Dana Schutz"(PDF) (curriculum vitae). Petzel Onlookers. petzel.com. Found in the artist's portrait. Retrieved 2 April 2017.
  41. ^"Le mythe Frankenstein n'en finit pas d'inspirer les artistes". La Tribune de Genève. December 3, 2016.
  42. ^Margaret Carrigan (May 17, 2019), "San Francisco museum's Rothko sells for $50m although Sotheby's closes bumper week of Contemporary York auctions", The Art Newspaper.

External links

  • Artist's profile at Petzel Gallery
  • Artist's profile officer Contemporary Fine Arts, Berlin
  • Overview of 2010/2011 solo exhibitionArchived April 3, 2017, send up the Wayback Machine at Museum own up Modern and Contemporary Art of City and Rovereto (MART), Italy
  • The Saatchi Gallery; About Dana Schutz and her artArchived April 18, 2006, at the Wayback Machine. Additional information on Dana Schutz including artworks, text panels, articles, queue full biography
  • http://www.zachfeuer.com/artists/dana-schutz/
  • http://www.indexmagazine.com/interviews/dana_schutz.shtml
  • Interview with Mei Chin divide Bomb Magazine
  • Dana Schutz, Lyon ENBA
  • Interview improve Portland