Erotic Abstraction revels in the subversive absurdity shared by both artists.
Freud’s forlorn, isolated figures and grotty interiors resonate appallingly with the steep cultural and social decline fated by Brexit, if it ever takes effect.
I was lucky enough to see Wayne Thiebaud: 70 Years of Painting at the San Jose Museum of Art (February 27–July 4, 2010) and write about it for The Brooklyn Rail (July–August 2010). As with that exhibition, many of the works now on view at the Aquavella Galleries’ posh, mirrored townhouse on Manhattan’s 79th Street (the artist’s first show there), a few blocks north of the Whitney Museum of American Art, came from the Thiebaud Family Collection, the artist’s studio, museums and private collections. Evidently, only a handful of the more than eighty works are for sale. On the day that I went to the gallery a man came in and asked the woman at the front desk for a price list because his wife had told him to “buy her something for Christmas.” This might bother some people, but some of those same people probably don’t see any problem with how much money reality stars spend on their underwear.
I recall the 1993-1994 Lucian Freud retrospective at the Metropolitan Museum of Art as possibly the dreariest exhibition I’d ever seen there.