Karin Davie

From Wikipedia, the free encyclopedia

Karin Davie (born July 27, 1965, Toronto, Canada) is a contemporary artist who lives and works in New York City and Seattle, Washington.

Work[]

Davie is best known for her idiosyncratic twist on the modernist 'stripe' and looping hyperbolic abstractions. Her contemporary practice has been viewed in context with ideas of painting-as-performance from 1950s Abstract Expressionism and the 1960s Op Art.[1]

New York critic Bob Nickas wrote of her work: "In 1992 a tall diptych hanging in the office of Feature gallery in New York made an immediate impression – with horizontally undulating bands of lurid color pinched in the center on a downward curve, it seemed cartoonishly grotesque. A first take: running mascara, and so a body reference; at the same time the painted canvas/painted face seemed to send up the act of painting."[citation needed]

Jan Allen has said that Davie's painting practice "...is a compelling evocation of stamina, evasion, and voracious sensuality. A persistent, undulating rhythm of hiding and revealing, of unseen machinations beneath surfaces, courses through all Davies' work. On a certain level, the diverse cultural productions and visual effects that the artist cites as inspiration for her painting – films, cartoons, reflections in a glossy fender or the swaying figure of a woman walking in a striped dress – are cover stories for, or approximations of, a deeper aesthetic investigation."[2]

Jen Graves has said that "Davie has said she thinks of her paintings as parodies of the motions her body has to do to make them."[3] The artist has stated, "The paintings are constructed from repetitive physical movements. I think of 'the gestures' as behaviors that are both informal and obsessive as opposed to grand and aggressive. I am interested in a visual reflection of the complex psychological and social relationships that persist over time to concepts of the 'self' and 'body' in painting."[4]

Davie's Night Ways, exhibited at Mary Boone Gallery in NYC in 2005, is an example using time sequenced LED's in combination with the tradition of drawing as a work on paper. Another example, Induction: Symptom 1, a large floor sculpture consisting of strips of laminated neoprene and mirror form a large funhouse image of interwoven rubber brushstrokes and reflections. The sculpture was first exhibited in the artist's survey exhibition "Karin Davie: Dangerous Curves", at the Albright Knox Art Gallery and later reconfigured at Mary Boone Gallery, NYC and Galleria La Citta in Italy. She also exhibited Introvert, an LED illuminated cast wall piece with finger holes, alongside six oil paintings from the Symptomania series as part of her solo exhibition in 2010 at the Aldrich Museum of Contemporary Art. Both of these mixed media pieces refer back to earlier series, My Inside Out and Liar, from 1996–2000, using poured rubber and mirrored glass polka dots on paper.

Exhibitions[]

In the 1990s she participated in the group exhibition "In Full Effect" (1991) at White Columns, NYC, "The Radio Show: Unrealized Projects," Artists Space, NYC (1992) "Promising Suspects" and "Landscape Reclaimed," The Aldrich Contemporary Art Museum, (1994–1996), "Painting in an Expanding Field," Usdan, Bennington College (1996), "After The Fall: Aspect of Abstract Painting Since 1970," New House Center for Contemporary Art (1997), "Projects 63: Karin Davie, Udomsak Krisanamis, Bruce Person, Fred Tomaselli," The Museum of Modern Art, NYC (1998), "Post Hypnotic," The Contemporary Arts Center, Cincinnati, OH (1999), "Emotional Rescue: The Contemporary Art Project," Seattle Art Museum, Seattle, WA (2000), "Hypermental," Kunsthaus Zurich, Switzerland and Hamburg, Germany (1999–2001).

Over the past decade Davie has had solo exhibitions at SITE, Santa Fe New Mexico (2003), a survey show at the Albright Knox Gallery, Buffalo NY (2006), Agnes Etherington Art Centre, Kingston, Ontario, Canada (2006), The Aldrich Museum of Contemporary Art, Ridgefield, Connecticut (2008). The artist has also had solo exhibitions at White Cube, London, UK (2001), Mary Boone Gallery New York, NY (2002 to 2007), Marianne Boesky Gallery, New York, NY (1999), and Wetterling Gallery, Stockholm, Sweden (2006 & 2011).

Major group exhibitions more recently include "Extreme Abstraction," Albright Knox Art Gallery, Buffalo NY (2005), "The Oppenheimer Collection," The Nerman Museum of Contemporary Art, Kansas City (2007), "The Maramotti Collection," The Maramotti Museum, Reggio Emilia, Italy (2007), "Paragons: New Abstraction from the Albright Knox Collection," Albright Knox Museum, Buffalo, NY (2008), "From the Collection of the Art Gallery of Ontario," Art Gallery of Ontario, Toronto, Canada (2008–2009), "From the Eric Marx Collection," Berlin, Germany(2008), "Between Picture and Viewer: The Image in Contemporary Painting," Visual Arts Gallery, School of Visual Arts, New York, NY (2010),The Indiscipline of Painting Tate St. Ives[5] touring to Warwick Art Centre (2011/12), "Art First, From the Collection of the Museum Art Center Buenos Aires," Buenos Aires, Argentina (2011), "Watch This Space," Art Gallery of Ontario, Toronto, Canada (2012), "Buzz," Nara Roesler Gallery, San Paolo, Brazil (2012–2013).

Collections[]

Work by the artist is held in the public collections of various museums including the Art Gallery of Ontario, Toronto, Canada; The Albright Knox Art Gallery, Buffalo, New York; The Seattle Art Museum, Seattle, Washington; Orlando Museum of Art, Orlando Florida; Kunstverein in Hamburg, Germany; The Weatherspoon Art Museum, University of North Carolina, Greensboro, North Carolina; The Norton Museum of Art, West Palm Beach, Florida; The Nerman Museum of Contemporary Art, Overland Park, Kansas; Maramotti Collection, Reggio Emilia Italy; Museum Art Center Buenos Aires, Buenos Aires, Argentina; Rubell Family Collection, Miami, Florida; Marseilles Collection at the Warehouse, Miami, Florida; Paul G. Allen Family Collection, Seattle, Washington.

See also[]

References[]

  1. ^ Johnson, Ken (November 22, 2002). "Art in Review: Karin Davie". The New York Times. Retrieved June 12, 2013.
  2. ^ Allen, Jan (2009). Karin Davie: Underworlds. Kingston, Ontario, Canada: Agnes Etherington Art Centre Publications / ABC Art Books, Canada. ISBN 978-1553390954.
  3. ^ Graves, Jen. "Spooning and Dripping: The Bodily Grandeur of Karin Davie". The Stranger, Index Newspapers, LLC. Retrieved June 12, 2013.
  4. ^ Davie, Karin. "Aldrich Contemporary Art Museum Interview with Karin Davie". Karin Davie. Retrieved June 3, 2013.
  5. ^ Clark, Martin; Sturgis, Daniel; Shalgosky, Sarah. "The Indiscipline of Painting: International Abstraction from the 1960s to Now". Tate. Tate. Retrieved May 20, 2021.

External links[]

Retrieved from ""