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Glenn Brown
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Joy Division
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Glenn Brown: And Thus We Existed
Glenn Brown's swirling, grotesque figures emerge from uncanny manipulations of old and new masters In this volume, British artist Glenn Brown (born 1966) presents a selection of recent works across painting, drawing and sculpture. Brown's work disarms common distinctions between beauty and abjection: he takes the protagonists of his paintings from old and new masters such as Raphael, Boucher, Delacroix or Baselitz, whose figures he alienates, mutilates, digitally manipulates and covers with seething color gradients and bands of swirling color. In Brown's drawings, the bodies and faces intertwine, bound together by looping lines, leaving the viewer with the uncanny impression of a "schizophrenic self," as the artist notes. In his sculptures, color grows into space: brushstrokes flee the plane into a third dimension, threatening to smother the antique bronze figurines they grow from. Conceptually distinct from appropriation art, Brown's artistic process demonstrates where his focus essentially lies; not in the base image, but rather in the possibilities that derive from it.
Glenn Brown
Accompanying a major touring exhibition, this book features over 60 paintings, sculptures and previously unpublished new works, some of which are illustrated in gatefolds. Leading critics and curators examine the trajectory of Brown's career and his importance on the international art scene.
Glenn Brown
"I like my paintings to have one foot in the grave, to be not quite of this world. For me they exist in a dream world, a world that is made up of all the accumulated images stored in our subconscious that coagulate and mutate when we sleep." —Glenn Brown Mining art history and popular culture, Brown has created an artistic language that transcends time and pictorial conventions. He creates a space where the abstract and the visceral, the rational and irrational, the beautiful and grotesque churn in a dizzying amalgamation of reference and form.In paintings completed over the last three years, including some of his largest works to date, Brown confronts traditional subjects of still life and portraiture. With characteristically fleshy textures beneath remarkably flat and glossy surfaces, the scenes evoke traditional memento mori.
Glenn Brown
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Glenn Brown
Contemplating the work of Glenn Brown, one gets the feeling that this is what contemporary painting "should" be like: Brown's canvases play with our perceptions, appropriate and reconfigure past works, and offer intoxicating visions of our future-present. While some of his works seem to combine the influence of Gerhard Richter with science-fiction graphics, others are "re-paintings" of works by Rembrandt, de Kooning, Dali, Fragonard and Appel. This new monograph surveys Brown's recent output of remarkably vibrant works that combine the appeal of pop culture--from New Order songs to Bladerunner--with the best of the visual arts.
Glenn Brown
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Glenn Brown
"I am a little bit like Doctor Frankenstein because I create my pictures with the remains and dead parts of other artists' works." So says the rising London painter, Glenn Brown, while essayist Tom Morton likens Brown's canvases to a zombie comedy. Thus, "Theater" is a half-length portrait of a skeleton whose bones resemble a slimy organic mass of meat, paste and raspberry ice cream, while the sad mutant heads in "Asylums of Mars" and "The Hinterland" look as if they were bred in a mad geneticist's laboratory. In this monograph, six recent works are presented on deluxe tipped-in color plates, each accompanied by a detail that reveals Brown's technique: the artist fills his grounds with flowing whirlpools of shifting colors--but what initially look like thick brushstrokes are revealed upon closer examination to be very thin layers of paint that could almost be mistaken for photographs or digitally manipulated prints.
Glenn Brown
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