In an intimate interview-style salon on October 23, Dunham and Staver will explore their inspirations, how their art represents everyday life, contemporary politics and more.
Without resorting to parody or cynicism, Staver undoes the tropes we associate with depictions of heroic and mythical.
Even as Pollock was eliminating mythology in his work, younger artists born in the 1920s were finding ways to make it fresh.
The title of the painting I had been looking at, “Adam and Eve and the Goats” (2016), surprised me. I had thought it was retelling of a classical myth, a subject that Kyle Staver has explored with verve and humor before.
New York City galleries are raining down a smattering of group shows that showcase figurative painting.
If you see lots of work by different artists, you are going to make your own connections.
I had not seen Kyle Staver’s frieze-like clay sculptures before encountering two of them in Kyle Staver: Tall Tales, her current show at both Lower East Side spaces of Steven Harvey Fine Art Projects.
You don’t see Kyle Staver’s dark, moonlit domains so much as become their invisible and unacknowledged witness and ally. In an age riddled with cynicism and laced with irony, she envisions a shameless alternative in which mythological figures, such as Daphne, Andromeda, Syrinx, Perseus, and a satyr, are at home.
A couple of years ago, when I was still resisting Facebook, I heard about the debates Kyle Staver was spearheading there on the topic of Renoir’s late paintings. I set up a profile because I had to know more about this independent-minded female painter who likes Renoir’s work as much as I do. Since then, I’ve gotten to know Staver and her painting “in real life.” She’s dynamic on the canvas and off, a true cheerleader for her aesthetic causes, other artists, and friends.