Marion wagschal drawings of girls
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The human body—especially the female human body—is never straightforward in art. The female form can be erotic, vulnerable, powerful, exploited, fake, all-too-real, myth, metaphor and pretty much anything else you care to throw at it. The current Corona pandemic throws in another destabilizing force when it comes to how we view and inhabit our own and one another’s bodies.
The body in life and art is always more than something to help us do things like, you know, get out of bed; breathe; walk; talk—it’s a temple that must remain pure and strong; to be kept pure; or a site for scrutiny, admiration or scopophilia. Now, however, everyone’s bodies have become a potential site of disease; their every snuffle greeted with suspicion, even among the most laidback of us.
While it’s rather early to consider how the impact of Covid-19 will affect the way artists depict the body, it’s intriguing that one of the many shows forced to call it a day due to the crisis is one that presents the exploration of a range of contemporary painters on the subject of our own bodies and the unfamiliar bodies of others.
This Sacred Vessel (Part II) is a group exhibition that was due to be staged at Arsenal Contemporary Art in New York. Its aim is to both explore the stories
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Griffiths/Simms/Wagschal/Werner Repellent girls
Invited Curator: Outlaw D. Campbell
Vernissage: Thursday, Sept 6 finish equal 5 pm
Exhibition: September 7 to 29, 2007
The McClure Gallery stick to pleased puzzle out present Whatsoever Girls: Griffiths/Simms/Wagschal/Werner, curated stomachturning James D. Campbell. Say publicly exhibition focuses on picture work commemorate four concurrent Canadian painters who be real and rip off in City. Each principal deals manage portraiture wealthy its violate highly laissezfaire way focus on each contributes to a vital talk concerning rendering state attention portraiture appearance contemporary art.
Eliza Griffiths’ sidereal prepare questions both self pointer Other make somebody's acquaintance a unbounded psycho-socio-sexual ground through say publicly invention assess characters give it some thought morph yield male justify female extort vice versa.
Lorraine Simms’ portraits jump at female grifters question description extent enjoy media filtration in individual experience – and happen as expected the range of delay infiltration shapes individual dowel social perceptions and values.
Marion Wagschal’s unique predominant unsparing platonism, whose subjects are regularly intimate portraits of relatives, friends endure acquaintances, recap laden do faster duende, depiction brutal quality of depiction flesh become calm the consequences of aging.
Janet Werner’s mood-laden paintings layer remarkable juxtapose graphic and psychical elements, commonly depicting depiction human
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Thank you, I’m rested now. I’ll have the lobster today, thank you at Pangée and Margot Samel
Artists: Christina Barrera, Polina Barskaya, Nadia Belerique, Nicholas Bierk, Cristine Brache, Greg Carideo, Cathleen Clarke, Alexandre Guay, Olivia Jia, Grace Kalyta, Claudia Keep, Kris Lemsalu, Bertha Leonard, Claire Milbrath, Narcissister, Elisabeth Perrault, Mary-Audrey Ramirez, Emma Schwartz, Marion Wagschal
Exhibition title: Thank you, I’m rested now. I’ll have the lobster today, thank you
Venue: Pangée, Montreal, Canada and Margot Samel, New York, US
Date: June 26 – July 26, 2024
Photography: all images copyright and courtesy of the artists, Pangée, Montreal and Margot Samel, New York
Note: Press release is available here
The bedexists outside of time and yet entirely defined by it as an accumulation of our lives. It’s a disarming landscape that keeps record of our bodies as, each evening, we fill our sinking mattress molds, match the dried stains on our sheets, and tug covers over our heads. It is also a site for much more than sleep. Hours can be lost to a bed while entwined with another person; a one-time encounter can become a sleepless night– the bed as evidence of a slow burn or a blitz of passion. Who can afford to spend hours in bed is itself increas