1/22/2007

Jackie Saccoccio

49 comments:

Painter said...

Jackie Saccoccio
Black and White Gallery

zipthwung said...

I like the ambition and the energy but it feels like elizabeth murray and some Stella - nigel cookes traced lines - is this a movement? - im not convinced of anything other than its joi de vivre, of which I have plenty, so no thanks.

But it looks tons better than the 2000 stuff online. If the 2000 stuff was now id think she was pulling a dekooniing, which would pique my interest somewhat because I love schadenfreude.

Compositionally I got bored of pos-neg - never got into the flat but Im into depth and pressing my eyeballs untill I see patterns.

exu said...

yeah-vitality here-would like dirtier colors tho-

tumbleweed said...
This comment has been removed by the author.
zipthwung said...

closeuup posted a lady that uses spray paint on walls - i mean if you are a wild and crazy wild child - Saltz says she needs to lose the "whif of old abstraction"
by which I'd take to mean stop "quoting the brushstroke" but he doesnt specify where exactly the smell is coming from.

ad3pt said...

its a real struggle tackling painting with the same strategies that have been leveraged in the past. in terms of forms I don't see the inventiveness or newness that I prefer to see in painting; I think this work is in it's early stages, and shes a decent composer. I don't like how she deals with the paint. its waaay too dekooningly which Im sure that she gets all the time. I would like to see her get down with some spray enamel. maybe suggest that she not use brushes. she seems good enough at palette and composition to be able to make a painting good.

see katharina grosse

saccochio also reminds me a lot of wallace whitney and anke weyer

Anonymous said...

Too many colors. The forms are arbitrary and they don't sing.

Division of the canvas into 2 sides doesnt work.

poppy said...

at least looking at the old boys, you can learn something about color ,
this is such a mish mash, you would be hard pressed to pick up any real tips from her, unless, say, you've never thought of using anything but a brush, then you might realize you can let it drip a little or maybe wipe it with a rag,/ I'm with whoever said it like to see new things into it baby.

operation enduring artist said...

there is something oddly photographic about this painting...dividing the cANvas in half with such a sharp cut adds focus to the brushwork...likewise, the mushed around color (resulting in those nice chromatic grey moments) also enhances the depth of field.
i like the photographic depth.

Brangalina said...

Great show.

Cooky Blaha said...

see katharina grosse

http://www.joshspear.com/item/mekanism-x-katharina-grosse/

Anonymous said...

...a little different cooky, ah well a lot different in that Grosse at her best isn't interested in some compositional or intrinsic value based on notions of quality, it's architecture baby, whereby the traveling man or women is left to capture and record the fabric of there own impressions, compositions, entries and departures, paint escaping or trying to two confines, painting as an emotional tragedy that sometimes is able to outdo the structure to see and feel something fleeting.

Jackie Saccoccio:-
Maybe not intentional with this work, though first thing that struck me was the horizontal division, at least in this jpeg: For perfect squares. That's what I 'figure' is what is going. There is a lot of depth in the work. Depth, depth, depth: Excited about all that illusion.
Seems to be the way at the moment--toes in, the body still not acclimatized to the big bad empty bin. Looks fun!

Cooky Blaha said...

this doesnt look like grosse to me

Anonymous said...

ok we are in agreement there, what was the point of posting a URL to grosse's work then? There doesn't need to be a reason, but well..

sorry for all the spelling. spelling is like a mood, and I'm not in that one.

zipthwung said...

i was mentioning the spray paint wall to to wall thing - its grosse. Just to mention that people are employing this dealio. Its a reference to historical precedent at this point. I dont know what the point is, though.

That art and life failed to merge? That painting never really got off the wall?
the impossibility of meaning without context?

This sort of stuff reminds me of the old commercial for the Prudential umbrella. That and Nick Nolte in New York Stories. like when someone is supposed to be painting energetically so they make something that looks energetic. Karel "I paint like a barbarian" appel.

But it overcomes the inertia. I guess it starts with a photographic reference and then layers stuff on that - just my guess. If thats kind of the point then it works. But what the point?

KISSMYABSTRACT said...

I thought it looked pretty good...and Zip where are you getting E.M.? but I need to see the show I was very surprised by how the Tal R or whats his name show looked in person compared to the image here ..it looked better here

Cooky Blaha said...

hey look zip's favorite artist. Who's booking flights?

Los Angeles, California – Forum Gallery presents the exhibition Odd Nerdrum: Paintings from November 25th, 2006, through January 6th, 2007, with an opening reception Saturday evening, November 25th, from 7:00 to 9:00 p.m. The exhibition consists of twelve new paintings which expand upon themes that have long captivated this great contemporary representational painter.

http://www.forumgallery.com/current_on1.php?id=180

zipthwung said...

the jarring palette - more a vibe. Its pop. You know, compliments, orange because it stimulates the appetite, blue because its m and mms. Dekooning because hes famous. Cad red because its bright.
Magpies because they arent moonpies.

zipthwung said...

I was trying to look up some other people who are doing murals - i recall 24th street having some. Its like peopel are going off the fresco or fragment thing. Twilight of the idols. But the local color looks so much better. Shows the limitation of the gallery or the telluride ski lodge.

Yeah odd nerdrum. Looks like Chris Cunninham's Flex. My favorite work by chris was the aliens stuff, aliens man, they are pretty cool. Bzzzzzz.

zipthwung said...

here I thik i blogged it back with the stamford prison experiment and stuff. Rad!!!!!

zipthwung said...

Tal r shoulda been at amalia dyan - maybe he will be and then you can say wow, I knew him when he was showing in a shoebox, but now hes showing in a bigger gallery and I guess I was blind because its the same work but it looks better.

TTal R is totally East village scene. Funk. GLue some barbie dolls with aqua resin and hot melt to a canvas splash some paint. USe some spray enamel. Do it. Use plastic beads. Add macaroni and feathers and a rasta cap. Do it now.

heidilolatheayatollah said...

Cooky I can't believe the coincidence---!!
I randomly looked up odd nerdrum today and read his angry kitsch speech online, I had no idea he was even showing anytime....weird(shivers)

okay, back to Jackie.

zipthwung said...

form followsauction

I see your quote and raise you a Vergangenheitsbewältigung.

Anonymous said...

I dont think that painting can afford to "stop quoting the brushstroke." Certainly Katrina G. still quotes it. But also move on.

Problem with Jackie S. is that it's more than a whiff. Too much old, not enough new. Not to mention just too random of a statement. Very much like Frank Stella, I think.

But old or new doesnt really matter in the end. You cant just use spray paint and say you hit the zeitgeist. I mean Louise Fishman is really good, and she's all old. She's convincing.

Cross said...

Just left of center at the top of this painting is what looks like a little piece of Bosman's painting from the previous post. Perhaps it's our way out... like the "spirit thread" in Navajo weavings.

kalm james said...

Closeuup you’ve got some good points. We’re in a state of late mannerism. The punch of a de Kooning or an early Joan Mitchell just runs out of gas when they’ve been re-painted for fifty years. I like the diptych approach, fruit-salad on one side, steak and potatoes on the other, though let admit that it’s a compositional device (reminds me of a statement made by Leo Castelli “the diptych in the eighties is like the grid in the seventies”). There’s more Melissa Meyer here than deKoo and maybe some editing might help, (damn Mozart too many notes). Perhaps today our measure of originality is which discarded tropes we decide to resurrect and how we rearrange them.

In any case I’ll try to drop by Black and White and sneak a peak at some pieces in person this pm. Also gotta hit Canada, Pavlavin, Rivington Arms, Liz Harris et al.

Anonymous said...

actually interesting idea, kalm, paint a steak on the left panel and peas on the right. Hmm, I can see the charcoal crumbing across a freshly gessoed canvas right now, wildly marking up the big 'T' dashing over to circle in the little 'p', assistant mixing up... calls across, "the peas are green?". No response! Now out the window shouts, 'Are peas green?'
A small demure head pops out from the least shabby brownstone's window, polites, "Tea is green, and so are peas."

It's that sort of conflict that heralds in great art!

I still think this fun, and firmly believe Jackie is in the groove of the cube.

The Od N., when I first came across that guy's work years ago, I remember thinking that's what happens when you go wrong and get all stubbon about it>
Don't tell me cookie, it all fits right? It's the gesture that counts.

Today has moved on:

'Fuzzy'. Slow groove!

Fuzzits the matter?
LEDs, clubs, downloadables, there are no dreams that cannot be broken.

Fuzzits the matter? Fuzzits!
There is no shoestring!™

poppy said...

too much to read right now,
but
art/painting got off the wall a long, long time ago,. I'm responding to something farther up on the page,
So what do you think it means to be back there today?

kalm james said...

I’m going to change my name to Weird Odram, and give peas a chance.

zipthwung said...

I still think this is, in part, a quote of kippenberger - look at the link i posted. Its like four square at reccess.
Duurrrrr Want to play tetherball?

Heres the fucking state of the union:

Saltz:

"Everyone is trying the best they can. For critics to demonize the entire art world, then, as somehow unethical and crass seems self-righteous, cynical, and hypocritical."

facetious: Everyone is doing the best they can.

antithesis: One in ten will be shot until the fucking liar steps forward.

synthesis: up against the wall motherfuckers!

I have a wiff of balls and its GRAPE drink not KOOLAIDE for those of you who are into academic accuracy.

Cooky Blaha said...

whose painting was the auction link zip?

poppy said...

looks like a kippenberger to me
but i've never seen that painting
or maybe i have and thats why i'm saying kippenberger.

poppy said...

just googled,
yes it is.

zipthwung said...

Yeah ChriSothebys - I signed up didnt everyone? so i saw the four square thing and its probably just unconscious and purely a coincidence.... Like looking up Nerdrum. Or thinking I drank the Koolaide before I was born.

Speaking of close reads I blogged Koolaide. Ill add more later.

zipthwung said...
This comment has been removed by a blog administrator.
zipthwung said...

WHIFF RIFFS

Mia Fineman (artnet/slate)
"And it's here, in his refusal to engage with this core tenet of contemporary art, that Hughes still exudes a faint whiff of provincialism.

http://www.slate.com/id/2157735/pagenum/all


Jerry Saltz (Village Voice)

If Saccoccio rids herself of the considerable whiffs of old abstraction, she won't be a dark horse much longer.

http://www.villagevoice.com/art/0702,saltz,75468,13.html

Cooky Blaha said...

http://www.youtube.com/watch?v=eNeATODLKZY

zipthwung said...

INNIT?

Anonymous said...

I've heard though not witnessed that some people retire to the hamsters for their Sunday. It's 'a party up' of sorts, of who's who. I hope that one day I'm invited there, not to be seen, but to just hamster around. Anyway you all know about that!

Peas on a fork--touche? Anyway give us your thoughts on the evening tour!

For poppy: it's an interesting question why we return. Some of us do so because that is what we know, and what we are up to, or able to manage. After two generations, what went before is largely forgotten. That's why it's important that new medias come into play each few generations. That way what you are used to doesn't necessarily apply, because there's something new to take your attention away.
It makes you wonder how we ever got past cave painting. You'd think two generations later you'd be back at it. Except some new thing obviously came into play, some new media that saw the collapse of cave painting, I'm guessing. Or is it some read 'the painting on the wall', work through the haba-haba, and then, pick up or moved on, taking what they liked and eventually inventing what they need for the job--even I guess the stretcher--now that's a novel and nomadic device.
Who knows what fuels the imagination, and how it all links forward and then back. People do it! I'm sure there must be a recipe in the sky, or in the lake.

cooky
I'm not giving you a hard time, honestly! I just can't follow where you are going. I follow zip, but have known his dream awhile!

zipthwung said...

there is no off position on the genius switch

KISSMYABSTRACT said...

If Old Jerry has problems with "whiffs" he didn't mention it in his review of Manet who has some stinky Spanish odors coming out of his butt



If Saccoccio rids herself of the considerable whiffs of old abstraction, she won't be a dark horse much longer.

zipthwung said...

‘My works are my life’ wrote Disraeli. ‘They are all written from my own feelings and experience’

-Benjamin Disraeli

zipthwung said...

snifffffffffffffffffffffff

oh yeah, much better.

poppy said...

yes we go back to it not only cause of new media, cause I know I don't need to paint with silicone and tar to want to paint. and for painting, pigment is color is whatever works and who really cares about logical paint practice? Following certain logic, painting should of been dead 50 years before it was considered dead and kept truckin. Another reason to paint is cause my great grandfather's psychological garbage ain't my baggage. Long live retardation. Someone needs to invent anti-bacterial oil paints.

ad3pt said...

said it before, say it again...

raster graphics and computational geometry, irrespective of the number of pixels which can be fit on a monitor or the number of computations or lines of code which can be written to realize an image can never functionally compete with the human brains ability to make shit

painters are liberated from the laws of physics quite naturally in that working with liquids makes the dynamic of forms available infinite compared to that explored with the use of solids.

ad3pt said...

but that doesn't mean that work with solid materials cant be just as rad - just that painting has its own turf

kalm james said...

Quick run-down: Canada showing Carrie Moyer, bit of a disappointment, don’t appreciate the “free drippy soaky staining” technique when it’s done in a tight retentive way. If you’re gona slop paint, slop paint don’t get fussy about it. Also the statement in the press release talking about the reassertion of the “Feminist goals from the seventies” now we not only have to deal with outdated painterly tropes, but ideological ones as well?

Across town to Pelavin whose showing Harriet Shorr. These are nice competent paintings a bit thin and dry for my total satisfaction but three or four solid pieces. I liked the ones with the richest contrasts and the most emphatic design elements.

Mark Grotjahn at Anton Kern, paints what I’d have to call radiant Ad Reinhardt’s with chunky paint and visible brush strokes. I liked the paint handling but the programmatic format gets tedious (Beams of dark blue shading to near black radiating from ether side of a central vertical band, all in closely valued hues). Seems like a lot of people from out of town put on the “city black” when they show in NYC. Saw a catalog at the desk and couldn’t help thinking that I liked his colorful, pieces from the recent past better. These painting aren’t bad but it takes a while for your eyes to get use to the dark blues/blacks.

Elizabeth Harris showing Richard Bosman and Peter Achson. Bosman seems to have reduced the size of his figures which give greater import to the landscape of field in which the figures appear. The caves, frozen waterfalls, and snow fields have to carry more of the dramatic weight now while the people are put in supporting roles. Peter Acheson displays a good show of small to diminutive abstract oil paintings. Initially I didn’t know if his palette of warm to cool grays and autumnal rusts and oranges would work but he gets incredible mileage out of them. He likes a funky support to paint on so there are canvas boards nailed to stretchers and other slap dash surfaces. A couple of canvases at twenty-four or twenty-six inch square seem expansive, and I’d like to see him try some larger pictures, while still keeping it funky.

Saw some other stuff but had to hurry home when I snapped the frame on my bike. Felt like I'd broken my legs.

Anonymous said...

Ouch!

ec said...

I wish Saltz hadn't linked Saccoccio's paint with whiffs of the past. It seems like such a knee-jerk way to talk about paint, as if gesture can't be viable now.