Review: Gina Beavers

The Life I Deserve | by Nick Naber

Installation view at PS1. Photo by Nick Naber

I visited PS1 on a Monday afternoon. As I climbed the stairs to the third floor, my anticipation of Beavers’ work grew. It’s funny, I’ve met Gina a few times in passing, but this would be only the second time I saw her work in person. I tend to see her work through Instagram a medium which Gina is all too familiar with. 

Upon entering the first gallery you are faced with a wall of food. It’s hard to decipher what exactly it is you’re seeing. These paintings are heavily worked, through layers of paint and medium on the support. The materials are built up in a low (sometimes high) relief on the painting surface. An easy connection to make would be the work of Claes Oldenburg, but Beavers’ food is more grotesque than pop. The food references range from lettuce, beef, eggs, corn, cake, fries, hamburgers (In-N-Out the best!), and ice cream to name a few. A lot of the paintings are still life, however, many incorporate the body. Cake from 2015 is a deliciously hilarious meld of food and the body. Here the butt has been sliced, and a piece is being taken out to be served. Another blend is Corn Nails from 2019, which shows a hand with nails painted like an ear of corn while the hand holds an ear of corn. It’s uncanny to see the two together, where do the nails begin or end, same with the ear of corn?

The next gallery holds only 4 works, here Gina is referencing art history and the process of art making. It’s a tight examination in a small gallery. It could have been seen as throwaway space that you move through quickly, but it isn’t. It’s a concentrated curation and the four works shine in the space. Van Gogh’s Starry Night as Rendered in Bacon is repulsive but so damn alluring. Beavers captures the swirl of the well known Van Gogh painting through her use of painted bacon. From afar it looks like a bacon Van Gogh, on closer inspection the abstraction of the paint and modeled surface create a heavy and lush painting that we want to reach out and touch. 

Left: Van Gogh’s Starry Night as Rendered in Bacon, 2016

Right: Mona Lisa Nail, 2016

Photo by Nick Naber

The largest gallery holds some of the most humorous works. This space is all about the body, desire and emotion. It’s inside this gallery where Gina’s gaze is most evident, probably because these works have everything to do with beauty, femininity, masculinity, desire, and sex. Here we see Beavers’ playing more directly with scale in the work. Like the first gallery there is a large number of smaller works, but this gallery contains the largest of the works in the exhibition (Painter Lips, Makeup Revolution, Tag Yourself, Crotch Shots at the Getty Villa). The paintings in this room get to the heart of our cravings; great makeup, beautiful bodies, penises, vaginas, and plump lips to name a few. It’s in this gallery where Gina puts desire and humor together seamlessly. There is something about seeing these sculptural paintings and being centered wholly in the body. We’re able to see ourselves in these humorous situations. In this exhibition Beavers’ puts the magnifying glass on what it is to be human in the social media age through the archaic process of painting and with her Scorpio wit!

Gina Beavers: The Life I Deserve, is up through September 2 at MoMA PS1


Puppies and Flowers at the Royal: A New Artist-Run Space Explores Lustful Luxury and Mutating Community in Williamsburg

By Kristen Racaniello

 Puppies, Flowers, and Royalty. An exhibition in Williamsburg presents an ironic pseudo-salon, a flirtation with the historic Academie des Beaux-Arts, investigating the subsidiary subject matter associated with high-class leisure, surplus, and canonical art institutions. Historically marginal, decorative motifs are foregrounded in Puppies and Flowers; a transparently titled exhibition featuring paintings of floral vegetation and small, domesticated beasts.

 Puppies and Flowers is curated by artist and writer Katie Hector and features the work of Jenn Dierdorf, Dominique Fung, Delphine Hennelly, Katarina Janeckova, Tess Michalik, Aliza Morell, and Mark Zubrovich; a group of extraordinarily talented, energetic, and (mostly) Brooklyn based artists. The show runs from March 5th ­to March 31st, 2019.

This is an exhibition curated for artists, by an artist, in an artist run first-floor space. Self-aware satire, irony, awkward loves and slyly erotic forms characterize this show, but ultimately Puppies and Flowers deserves critical acclaim for its outpouring of community support and love. The Royal joins the fluxus of artist spaces in New York; its opening is a reminder that there is a continually vibrant artist underground even in the twilight of one of Williamsburgs oldest and most prolific artist-run spaces-- Sideshow Gallery, run by Richie Timperio until his unexpected death last fall.  That venue closed just last week (on March 21, 2019) joining the graveyard of countless other spaces that have closed for good in the neighborhood. With this inaugural exhibition, the Royal provides much needed new room for artists outside of the commercial gallery realm.

An exterior view of Sideshow Gallery in 2015. The space opened in the ‘90s and closed its doors in March of 2019, following the death of its vibrant owner and founder, Richard Timperio.

 The changing social organization of art patrons and institutions has necessitated artist-run spaces; Katie Hector chose to address this shift with Puppies and Flowers which playfully articulates the collapsing myth of the pipeline academy and confronts the mutating history of social interaction in the arts.

Puppies and Flowers does not look like a museum show or a group of paintings you might find in an established commercial gallery. Sensuously rubbing shoulders in subject, form, and medium, these paintings are divided; there is no one single aesthetic among the seven artists featured. Why should there be? This is an investigation of relationships: between artists, institutions, historical exhibitions and educations. Every artist and work is included because they contribute additional material to the dialogue around lust, leisure, class, craft and the decorative.

Installation view of Puppies and Flowers. From left to right: Jenn Dierdorf, October, 2016

Dominique Fung, My Dog is Anemic, 2017, Mark Zubrovich, Stick It Out and Touch Your Cleats, 2018, and Jenn Dierdorf Night Creeps, 2018.

Puppies and Flowers brings together seven talented artists and unites them through their shared subject matter, generating unexpected visual relationships. Concisely demonstrating this is a group of paintings strategically positioned to catch the eyes of unaware passerby’s through the Royal's enormous first floor window. Viewers are confronted by two central, sensual puppy paintings by Dominique Fung and Mark Zubrovich, enclosed on either side by Jenn Dierdorf’s flower paintings.

Top: Delphine Hennelly, Untitled III, 2017. Bottom: Mark Zubrovich, Stick Lick, 2018 and New Bat, 2018.

Fung and Zubrovich are perhaps closest in form out of the seven artists, but Fung’s sleek surfaces  and hard edges are still miles away from the partially post-digital, crayon fuzz of Zubrovich’s anthro-pups.  Together they form two shocking presentations of animal-human sexuality, pushing viewers to question the boundary between historically superfluous luxury goods that have lived at the margins of painting (the dog grasped in a patrons lap, or the supporting vase of a still life, for example) and the further conflation of material goods and status symbols with sexual desire.  Puppies and Flowers questions the fetish-like position of painting as an economic status symbol and further opens a dialogue around capitalism, art, power, and sex. 

The objects depicted have historically signified social class, wealth and power. In the microcosmic art ecology of the historically scrappy Williamsburg gallery scene, an exhibition that directly confronts painting’s place as a signifier of economic power is almost unimaginable.  Yet that is precisely what Puppies and Flowers does.  Playfully choosing the marginal imagery of historical painting, and displaying it within an artist-run space that is both in the margins of the commercial market, and at the center of a now historic artist district, Katie Hector has curated a thrilling new show that begins to unravel the complex network linking artist-run spaces to the larger constellation of galleries and institutions.


SPRING BREAK Art Show 2019

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Our co-founder and East Coast Editor, Nick Naber took over our Instagram account (@thecoastalpost). Find his highlights from SPRING BREAK Art Show below!


A Table is Set

A review of Ashley Johnson’s Reach by Devon McKnight

Photographs by Daniel White

“I want everyone to be drunk”, and so we were. An hour past 7 and Ashley has still not
entered the room. The mood is high, buzzing. We cannot wait. The set table is long and
full of southern paraphernalia, a language linking us. Three women, the Sisters, masked
in braids living out a scene from a former time, performing a series of Southern actions.
Pulled from the photographs that are setting our scene. Dark but illuminated.
Storytellers. Hung weavings bring us home, tuck us in. And in the back, through the
glass, something is stirring. Four dancers in white slips are moving, reaching, gathering,
gazing. A prelude.

Ashley Johnson as Diana Ross arrives. Tall, full-bodied, cloaked in white.
She is kindness, excitement, gratitude, confidence and a huge loud laugh.

The audience vies for her attention. These are her friends, acquaintances, peers,
strangers wanting to know her. They can’t wait to tell her their feelings. ”Blown away.”
“Can’t believe it.” “Floored.” They wouldn’t expect anything less. They want them all.

We mingle. We continue to drink in the mood. The mixed crowd is loving itself. We all
seem so happy to see each other. To be here. We know it’s good. It’s about to get
better.

A circle gathers and Ashley is introduced.

“I brought you here to be uncomfortable,”

She is here to tell us a story. Her story, which was to become ours, almost without us
knowing, as her words, her described experiences unraveled our deepest insides and
pulled them out through our gaping mouths as we breathed out. We’ve been emotional
since entering the space and it is here that we understand why. There is so much
history. The history of women, more specifically black women, most specifically this
southern black woman.

Ashley, after cutting off her braids, “when my expectations crashed into my reality, I told
myself, out loud, staring into a mirror that I was ugly, and cut off the light.”

Who has done this to us?

Ashley asks herself, “how far did this self-hatred have to travel before getting to me?”
We relate, we can all relate. Every woman(and some men I suspect) in that room filling
up, flooding with emotion.

This is art. This art is visceral.

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This setup was fully intended and then went far beyond its intention. I think an artist
hopes and dreams that the work she creates will touch someone, will build at least one
connection. When art takes on the artist, when all the pieces are in place and the artist
presses play, the work seeps out and into the body of the viewer and takes on a life of
its own. This this this, this is magic. The magic of the spirit. This is heart and soul and
life and love and mind and body. And the artist who allows for that, pushes for that,
seeks that...that artist gives us life. Gives us new life. A life of our own. A life to be
shared. A way in, a way forward. A question for us to ponder and move forward from.
To grow on. We have been lifted, uplifted. And Ashley does not give an answer, but she
gave us the honor and privilege of being included .in her esoteric process of searching.

I imagine this is what birth is like. A woman, risking everything, giving life, pushing a
whole soul out of her, a soul that is both her and something completely new, giving this
soul to the world. Those who experience this birth are touched by a new, clean truth
wrought and tempered by pain. And they are brought to their knees.

“I brought you here to be uncomfortable.”

At the completion of Ashley’s narrative. She tells us to grab a spot. Plant ourselves.
We do.

The four barefoot women dressed in white cotton slips who had been moving and
reaching enter the room. They weave themselves into the audience(into us), pulling us
down, lifting us up, staring into us. Outlining our bodies with their own. Reminding us of
our curves, our positions. They pull their movements from the photographs surrounding
us. They pull them into us, bring them into present moving life. And as motion pictures,
they build an intimacy in a room of strangers, exposing us all.

To punctuate this overflowing river, and end the scene, the Sisters seated at the table,
slowly, finally, unwrap themselves. Braid by braid. Lay their hair on the table, get up and
walk out.

There were no words, but we heard it all. Breathed in. I was alone and I was with every
single body in that space. I am still with them.

On the evening of July 7, 2018, on the north side of town, in a renovated cotton mill, we
were brought to our knees, where we have remained and may remain for some time.

. . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . .

It's the next day, Sunday. I am hungover and groggy, thirsty. Last night we feasted. We imbibed. A true Dionysian experience. We drank in the night, the people, the music, and the word of Ashley Johnson. But now, the breakfast table is silent as we try and pull ourselves into the day.

“So what’d you think?” and we are speechless again.

We haven't yet found the words, and we don't dare use the wrong, less deserving ones, so we open our eyes wide and shake our heads and look at each other in silent agreement.

Last night was a moment. A life experience. Something we know we will not get over for a long while. Something we must come to terms with. Something we will slowly begin to define for ourselves. Something we will try our hardest, but most likely fail, to define for those who were not there.

I am living through others. Desperate to hear their thoughts. To live it again.

My mother is in tears, sharing memories from her childhood. “It dredged up things in my childhood, about my hair experiences. My mother wasn't satisfied with me because my hair was straight. Putting my hair in pin curls with clips. She would do it Saturday night before Sunday church and I’d have to sleep with them in. She’d get mean when she was doing it, SIT STILL! Sometimes I just silently cried. You're not going anywhere with me with that stringy hair. You look like a tramp! When she gave me that perm the night before my 3rd grade picture, that was the end.”

My mother telling a friend about the experience, led her friend to tell a story:

As a child, her mother let her cut off her long hair and her father wouldn't speak to her or look at her for over a week. She was shamed by her own father because of her hair. Trying to swallow her shame, she says it went back to his people being Pentecostal. Women aren't supposed to cut their hair. What else are women not supposed to do?

The town is pulsating, we are connected. The emotion is palpable. I knew it would happen, I was living in anticipation. I have been since I saw Ashley’s first photographs two years ago. It’s a gut feeling. You know when you are in the presence of something special, when you see the presentation of good thought inside good aesthetic, oozing out of genuine.

My sister-n-law struggles to voice the pain it underlined for her, pain maybe she didn’t understand until now.

Person after person breaks down upon first entering the gallery where Ashley’s pieces still hang. And we don’t quite know why. Not yet. We have a feeling.

“It’s about not loving yourself. Having been trained that we are less than. And that we always need to be.”

“There were quite a few of us that were holding back tears.”

“Why is this a female issue that connects to self-worth and beauty?”

“I can’t tell you how many conversations I had with the black women in the room about hair issues.”

“Why am I crying; I don't even understand this yet, it’s gonna take me longer.”

“Why am I emotional ...this isn’t about me, I don't have black hair?”

“We both talked about cutting our hair off. It was an act of defiance. She said the same herself. I’m not gonna play this game anymore.”

But I’d like to bring us back to what brought us here and what always brings us here. Isn’t it always black women who show us who we are, who are there for us, who speak with us, guide us, mother us, become our sisters, love us back into ourselves and light the way forward for us all?

Right now, inside an old cotton mill hangs a series of photographs. And a table is set. A table is set for a scene that was, and a scene that is still unfolding. A table is set, asking you to gather. A southern setting, always ready to receive you.

 

 

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Yasmine Diaz - Exit Strategies at The Women’s Center for Creative Work

A review by Alexis Bolter

Photo taken by Stacie Jaye Meyer.

Photo taken by Stacie Jaye Meyer.

Though we were all far from our teenage years, the opening felt like a house party your friend throws in high school when their parents are away.  Yasmine Diaz’s installation, Exit Strategies, encourages this long forgotten youthful behavior.  We all crammed into the small room clutching our beers reminiscing under the hot pink glow of the Arabic neon sign.  I sat cross-legged on the carpeted floor spilling over a vintage trapper keeper filled with highlighted pages, not of algebra homework, but consisting of the “Multi-agency practice guidelines: Handling cases of Forced Marriage”.  During Diaz’s residency at the Women’s Center for Creative Work, she transformed this white-walled space into a replication of the basement bedroom she once shared with her sisters. The installation lures you in with its glowing neon light and Love’s Baby Soft scent and then interrupts your nostalgia by revealing pieces of Diaz’s journey as she escaped the threat of honor violence.

Photo taken by Danielle Spirese

Photo taken by Danielle Spirese

The dominant element of Diaz’s installation is the bright pink neon light.  The color quickly becomes a natural element of this retro space but there is much to unpack in this glowing sign. Diaz provides guidance for those of us who cannot read Arabic, “The text in Arabic is matronymic with my mother’s name and the name I had before I changed it to Yasmine.”  Rather than following the traditional “daughter of <father’s name>” naming structure, Diaz has disrupted that patronymic framework to read the “daughter of <mother’s name>”.  This act speaks to Diaz’s rebellion against the patriarchy and her willingness to challenge a culture she was born into as a Yemeni-American brought up in a Muslim home.

It should be said that I feel the heavy weight that comes from discussing the topics of Diaz’s installation.  Yasmine and I have spent many hours discussing the ideas behind her work and, as I type out these words, I feel the fragility of that conversation magnified.  This is the bravery that runs through her practice; she is not shying away from a conversation that involves religion, identity, and gender politics. It may feel uncomfortable to be critical of a religion that is also being unfairly persecuted by our country during this surge of xenophobia yet it also seems wrong to dismiss the gender inequality that can be extracted from that religious ideology.  This conversation is made more poignant by its display at the Women’s Center for Creative Work. The cross-section of feminism and conservative Islamic tradition is a space that empowers the hijab but doesn’t necessarily ask questions about how that tradition and other more restrictive practices are carried out. Diaz’s installation and the WCCW are taking the steps to engage in this difficult conversation by creating a space that welcomes that dialog.   

That conversation finds a safe home in the transformed residency space.  The familiar wood paneling and mustard hues are cradling a muted carpet and retro furniture.  The two wallpaper patterns are striking. One side obviously bought and pasted, the other hand-painted with a pattern that is trying to say something more. Those hand-painted 12-point rosettes reference a style of Islamic geometric tiling which continue off the wall and into the intricate paper cuttings that inhabit the framed collages.  The source images used for those collage pieces echo the environment we find ourselves in; a place where young women can let down their guard. But this carefree attitude must be read through the young women’s body language since their faces have been removed. This omission serves as another act of disruption and an act of protection when placed in the context of the framed documents scattered around the installation.

Photo taken by Stacie Jaye Meyer.

These redacted documents are precious in their creation and harrowing in their journey.   What you are able to glean from these email exchanges is that Diaz escaped her childhood home under threat of retaliatory violence as a result of refusing to enter an arranged marriage.  This story is illuminated through these correspondences that document Diaz’s attempt to obtain a legal passport after using a false social security number and a false birth certificate while in hiding.  

Diaz’s installation is being presented this quarter under the “Control” programming at the Women’s Center.  Yasmine has fought against the controlling elements in her life since her time in the basement. In the corner of her installation, you’ll find a pair of shorts clipped to a long skirt, a revealing glimpse into her daily defiance against this imposing control.  There is so much courage in this work. The courage to flee her home at a young age, the courage to reveal her false identities, and the courage to revisit that basement with us, the viewer. When I was leaving the opening, I asked Yasmine how she felt about the evening and what it was like to see all these people in her installation.  She mentioned how she rarely invited friends over to her room growing up. This installation allowed her to fulfill this childhood desire as she continues to assert her control.

Photo taken by Stacie Jaye Meyer.