Cecily Brown

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Cecily Brown
Born 1969
London, England, United Kingdom
Nationality British
Education Epsom School of Art (1987)
Morley College (1987-89)
Alma mater Slade School of Art (1993)
Style Figurative art
Abstract art
Spouse(s) Nicolai Ouroussoff

Cecily Brown (born 1969) is a British painter. Her style displays the influence of a variety of painters, from Francisco de Goya, Willem de Kooning, Francis Bacon [1] and Joan Mitchell, to Old Masters like Rubens and Poussin, yet her works also present a distinctly female viewpoint.[2] Brown lives and works in New York City.[3][4]

Early life and education

Brown was born in London, England, in 1969. She is the daughter of novelist Shena Mackay and art critic David Sylvester.[5] Brown earned a B-TEC Diploma in Art and Design from the Epsom School of Art, Surrey, England (1985–87) (now the University for the Creative Arts), took drawing and printmaking classes at Morley College, London (1987–89), and received a BA degree in Fine Arts from the Slade School of Art, London (1989–93).[6] During her studies, she worked as a waitress and, later, in an animation studio. In addition to painting, Brown also studied printmaking and draftsmanship. She earned First Class Honours at Slade and was the first-prize recipient in the National Competition for British Art Students.[1]

Career

Brown relocated to New York from London in 1995.[7] Since 2011, she has been working from a studio at a former office near Union Square. Before that, she maintained a studio in the Meatpacking District, Manhattan.[3]

Work

Painting

Brown's paintings combine figuration and abstraction. Expanding the tradition of abstract expressionism, she has become known for her painting style suggestive of abstract and abstract expressionist painters such as de Kooning and Oskar Kokoschka. Sexuality and attraction are important themes in her work, which she explores through semi-figurative and abstract means. Her paintings also recall the works of Philip Guston and the Bay Area Figurative School of the 1950s and 1960s. Brown often titles her paintings after classic Hollywood films, such as The Pyjama Game, The Bedtime Story and The Fugitive Kind. In 2013, Brown based a series of paintings on a photograph of a large group of nude women that appeared on the British release of a 1968 Jimi Hendrix album Electric Ladyland.[8]

The sexuality and eroticism of Brown's depictions of expressive figures and nudes are echoed in rich colors, luscious paint handling, and animated brushwork; her work combines representational and abstract elements. Her tactile technique stands out among contemporaries and links her to the art movement Abstract Expressionism. However, self-conscious of her connection with artists such as Willem de Kooning and Lucian Freud, Brown often interjects fresh humor or irony by titling her paintings after famous musicals and films. She has been grouped with leading female contemporary painters, including Charline von Heyl, Jacqueline Humphries, Laura Owens, Jutta Koether, Amy Sillman, and Emily Sundblad.[9]

Brown describes her process as "organic."[10] She often spends multiple days on works, and will work on up to 20 works at a time, allowing layers of paint to dry between applications.[11]

Other works

In 1997, Brown created Untitled, a permanent, site-specific installation for the group exhibition Vertical Paintings at P.S. 1.[12]

In the media

In the February 2000 edition of Vanity Fair, Brown, along with fellow artists Inka Essenhigh, John Currin and others, appeared in full-color photographs taken by Todd Eberle. A photograph that appeared in The New Yorker made showed Brown from the back as she stood, cigarette in hand, studying one of her paintings.[13]

In 2004, Brown presided, along with other artists such as Laura Owens and Elizabeth Peyton, over a Democratic fund-raising event, Art Works for Hard Money, in Los Angeles.[14]

Critical reception

Brown has received a lot of critical attention for powerful, athletically-sized canvases and bold brushwork. The assertiveness of her paintings has often been compared to Abstract Expressionist works which, during their time, were linked to a fierce masculinity. As a female artist working in this vein, Brown's works have been seen as confronting both this tradition and gendered assumptions about art.

However, some recent critics have taken a different stance. Roberta Smith, in the New York Times, called a Gagosian exhibit it reviewed in 2000 "lackluster" and suggested that Brown's "career is ahead of her artistic development."[15] In a 2011 review for The Guardian, art critic Adrian Searle rejected the dynamic and assertive surfaces of Brown's art and wrote: "What's really missing in her art is character, and for all the hectic painting, a sense of necessity." Likewise, in 2013, Leah Ollman wrote a review of a Gagosian Gallery show for The LA Times, in which she observed: "Instead of powerful and passionate, her voice comes across as detached. The volume is turned up, but the verve is on low."[16]

Exhibitions

Solo exhibitions include:[17]

Her work has appeared at the Whitney Biennial 2004 in New York,[22] The Triumph of Painting at the Saatchi Gallery, London and “Greater New York” at P.S. 1, New York.

Collections

Brown's work has attracted the attention of private art collectors including Elton John and Michael Ovitz. Her paintings are in the permanent collections of important museums and institutions including the Solomon R. Guggenheim Museum, the Whitney Museum of American Art, the Hirshhorn Museum and Sculpture Garden, Tate Modern, Museum of Contemporary Art, Los Angeles, the Albright-Knox Art Gallery, and the Des Moines Art Center.[4]

Art market

Brown is represented by Contemporary Fine Arts in Berlin. Between 2000 and 2015, she was also represented by Gagosian Gallery.[23] She previously showed with Deitch Projects.[24]

Personal life

Brown is married to architecture critic Nicolai Ouroussoff; they have one daughter, Ella.[25]

Further reading

References

  1. ↑ 1.0 1.1 Scott, Sue (2013). "Cecily Brown" in The Reckoning: Women Artists of the New Millennium, 31. Munich: Prestel. ISBN 978-3-7913-4759-2.
  2. ↑ Lua error in package.lua at line 80: module 'strict' not found.
  3. ↑ 3.0 3.1 Karen Wright (November 29, 2013), In the studio: Cecily Brown, Painter The Independent.
  4. ↑ 4.0 4.1 Lua error in package.lua at line 80: module 'strict' not found.
  5. ↑ http://www.artcritical.com/DavidCohen/SUN89.htm review accessed online June 1, 2007
  6. ↑ Lua error in package.lua at line 80: module 'strict' not found.
  7. ↑ Roberta Smith (January 21, 2000), ART IN REVIEW; Cecily Brown New York Times.
  8. ↑ Lua error in package.lua at line 80: module 'strict' not found.
  9. ↑ Diane Solway (August 19, 2013), Charline von Heyl: In the Abstract W.
  10. ↑ Lua error in package.lua at line 80: module 'strict' not found.
  11. ↑ Lua error in package.lua at line 80: module 'strict' not found.
  12. ↑ Cecily Brown P.S. 1, New York.
  13. ↑ Roberta Smith (July 5, 2000), Portrait of the Artist as a Young Woman; Glossy Images That Both Mimic and Mock Male Sexuaility New York Times.
  14. ↑ Alex Williams (July 4, 2004), Cutting Edge In the Arts Now Is Joining a PAC New York Times.
  15. ↑ Lua error in package.lua at line 80: module 'strict' not found.
  16. ↑ Lua error in package.lua at line 80: module 'strict' not found.
  17. ↑ Cecily Brown Gagosian Gallery.
  18. ↑ Lua error in package.lua at line 80: module 'strict' not found.
  19. ↑ Lua error in package.lua at line 80: module 'strict' not found.
  20. ↑ Lua error in package.lua at line 80: module 'strict' not found.
  21. ↑ Lua error in package.lua at line 80: module 'strict' not found.
  22. ↑ Richard Lacayo, "Art: Major Art Attack," TIme, March 29, 2004.
  23. ↑ Julie L. Belcove (May 8, 2015), After Gagosian, Cecily Brown Hits Reset: Smaller Paintings, Smaller Gallery, Evil Mice, and Male Nudes New York Magazine.
  24. ↑ Roberta Smith (December 23, 2003), Art World Startled as Painter Switches Dealers New York Times.
  25. ↑ Lua error in package.lua at line 80: module 'strict' not found.

External links

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