Jan 5, 2022
People Houses, Gladys Nilsson, 1967, MoMA: Drawings and Prints
Larry Aldrich Foundation Fund Size: 16 x 22 1/8" (40.7 x 56.3 cm) Medium: Watercolor and pencil on paper
http://www.moma.org/collection/works/33015
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People Houses, Gladys Nilsson, 1967, MoMA: Drawings and Prints
Larry Aldrich Foundation Fund Size: 16 x 22 1/8" (40.7 x 56.3 cm) Medium: Watercolor and pencil on paper
http://www.moma.org/collection/works/33015
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Gladys Nilsson at Parker Gallery
more so the second time around. The artist is a heavy-hitting world builder with chops developed over several decades. This is the type of work that is new every time you look at it. The figures in her paintings are exuberantly aloof as they twist and weave, at once becoming the landscape while influencing and shaping it in their own image. The perverted little cherubs are all curves, boobs and buttcheeks, and more often than not, their constituent parts merge at infinite crotches in the shape of a “Y”. Why? Because that convergence is where funny and endearing happen, because we all have those convergences and none of us really know why...
Gladys Nilsson Exhibition verjoyed as I was to see Glad…
Featured spreads are from 'Gladys Nilsson: Honk! Fifty Years of Painting,' a riotous tribute to the singular path of the Hairy Who pioneer. Covering five decades and featuring 100 full-color plates, this beautiful volume is Chicago painter Gladys Nilsson’s (born 1940) most comprehensive monograph to date. Though Nilsson is better known for the watercolors she began exhibiting in the mid-1960s as an original member of the Hairy Who, she has dedicated much of her career to painting in acrylic. This monograph begins with her 1960s paintings on panel and Plexiglas, then considers her 1970s paintings on canvas, including the seven-foot-high "Dipped Dick: Adam and Eve after Cranach," whose title characters are surrounded by a menagerie of cavorting plants and animals. The book finishes with her vivid recent paintings, which are jam-packed with characters. As Nilsson describes her approach, “I would draw a big figure, but that figure always needed another figure, and then those two figures needed a third to interact with. And then, before I knew it, the whole place would be teeming.” Read more via linkinbio. Published by @matthewmarksgallery & @garthgreenangallery Text by Marcia Tucker. Interview by Alison M. Gingeras. @alisongingeras #GladysNilsson #hairywho https://www.instagram.com/p/CL620FEJxzq/?igshid=bm1cns7w8sjm