If Philip Guston wanted everyone, including himself, to leave his studio, Franklin Evans seems to be inviting everyone in.
Franklin Evans
Posted inArt
Painting as Super Model
Yve-Alain Bois’s book Painting as Model was written twenty odd years ago and continues to be an important text, providing conceptual fodder for many contemporary art practices.
Posted inArt
Tracing a Path from Cubism to Digital Art
I first learned about Cubism in an art history class my sophomore year of college. I remember the moment of revelation, after reading a lot about but still failing to grasp what exactly Picasso and Braque were after. In the darkened lecture hall one afternoon, our teacher summed it up this way: how sparingly could you paint a face while still having the viewer understand it as a face? What was the bare minimum required for representation? As legend has it, these questions and the art they inspired changed the course of art history forever.
Is the same true of the digital revolution? That’s the premise of Decenter, an exhibition curated Andrianna Campbell and Daniel S. Palmer and currently on view at the Abrons Arts Center.
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Pulling Down the Curtain
Franklin Evans is a Brooklyn-based artist. You might have heard of him as a result of his involvement in PS1’s 2010 installment of Greater New York. I knew little about the artist until I walked into his current exhibition Eyes on the Edge at Sue Scott Gallery. He is a painter and installation artist of the self aware/self conscious brand. Upon entering the gallery the visitor is forced to walk across a Plexiglas-faced bookshelf installed on the floor. Resting on the upturned shelves is a carefully installed library — presumably the artist’s own.
