Ain't Painting a Pain, here's a repost on the Richard Jackson' exhibition in 2013.
Sharon Butler has a great post on Two Coats of Paint about Richard Jackson's retrospective at the Orange County Museum.
In the LA Times, Christopher Knight tries to recount all the ways Jackson uses paint. "Thick, brightly colored paint oozes like mortar from between thousands of canvases stacked like bricks into a kind of room-size temple, and it's smeared in rainbows that unfurl across white walls. It's shot from a pellet gun at a big drawing and out of the rear ends of carousel animals toward spinning canvases and sculptures on surrounding walls. Paint is pumped through neon tubing that spells out the show's title, clogging illumination, and into a bathtub copied from one where a hero of the French Revolution was ignominiously murdered. It has dripped from glass models of human heads, oozed from squashed metal models of a ballerina and spewed from a hose wielded by a sculpture of a reclining nude glimpsed, voyeur-like, through the crack in a barely opened window. It puddles on pedestals and the floor....This is the only museum exhibition I've seen that posts a sign at the entry warning visitors not to touch the art for the specific reason that the paint might not be dry."
Sharon Butler has a great post on Two Coats of Paint about Richard Jackson's retrospective at the Orange County Museum.
In the LA Times, Christopher Knight tries to recount all the ways Jackson uses paint. "Thick, brightly colored paint oozes like mortar from between thousands of canvases stacked like bricks into a kind of room-size temple, and it's smeared in rainbows that unfurl across white walls. It's shot from a pellet gun at a big drawing and out of the rear ends of carousel animals toward spinning canvases and sculptures on surrounding walls. Paint is pumped through neon tubing that spells out the show's title, clogging illumination, and into a bathtub copied from one where a hero of the French Revolution was ignominiously murdered. It has dripped from glass models of human heads, oozed from squashed metal models of a ballerina and spewed from a hose wielded by a sculpture of a reclining nude glimpsed, voyeur-like, through the crack in a barely opened window. It puddles on pedestals and the floor....This is the only museum exhibition I've seen that posts a sign at the entry warning visitors not to touch the art for the specific reason that the paint might not be dry."
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| Richard Jackson, Painting with Two Balls, 1997, Ford Pinto, metal, wood, canvas, acrylic paint, 20 x 36 x 20 feet |
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| Richard Jackson, Reconstruction of Untitled (Maze for Eugenia Butler Gallery, Los Angeles), 2013, oil and pencil on paper, 108 x 240 x 240 inches. Collection of Alison Terbell Nikitopoulos and Dimitris E. Nikitopoulos. Installation at Orange County Museum of Art. |