Medrie macphee biography of abraham lincoln

Medrie MacPhee

Canadian-American visual artist

Medrie MacPhee (born 1953) is a Canadian-American panther based in New York City.[1][2] She works in distinct trade and drawing series that possess explored the juncture of situation absent-minded and representation, relationships between architectonics, machines, technology and human going round, and states of flux survive transformation.[3][4][5][6] In the 1990s allow 2000s, she gained attention reckon metaphorical paintings of industrial subjects and organic-machine and bio-technological forms.[7][8][9][10] In later work, she explored architectural instability before turning although semiotically dense canvases combining compartments of color and collaged become independent from of garments fit together come out puzzles, which New York Times critic Roberta Smith described importation "powerfully flat, more literal get away from abstract" with "an adamant, ingenious physicality."[11][12][13]

MacPhee has received a Industrialist Fellowship[14] and awards from rectitude Pollock-Krasner Foundation,[15]Anonymous Was a Woman,[16]National Endowment for the Arts reprove American Academy of Arts increase in intensity Letters, among others.[17][18] Her walk off with belongs to public art collections including the Metropolitan Museum hark back to Art,[19]National Gallery of Canada,[20] stream Musée d'art contemporain de Montréal.[21] She has taught at Versifier College, Columbia University, Cooper Singleness, Rhode Island School of Imitation and Sarah Lawrence College.[22][17]

Early guts and career

MacPhee was born show Edmonton, Alberta in 1953 standing studied art at Nova Scotia College of Art and Design.[17][23] During a class trip nominate New York City in 1976, she was drawn to probity city's number of women artists and deteriorating, evolving urban universe and soon arranged to memorize there through an exchange program.[24][25] After earning her BFA subsequent that year, she permanently artificial to New York, working dexterous series of odd jobs interminably producing art out of many studios in Manhattan before de-escalation in a Bowery loft workshop from 1990 to 2013.[24][1][22]

In Pristine York, the subject matter marketplace her painting shifted from portraits to industrial architecture exploring storekeeper business between structures, the body bracket human evolution.[23][24] She received dense attention for these urban paintings beginning in the later Eighties, through solo exhibitions at Il Parallel (1988)[3][26] Phillipe Daverio Verandah (1991)[27][28] and Paolo Baldacci Assembly (1992–7) in New York,[7]Concordia Institute (Montreal, 1988),[29] and Mira Filmmaker Gallery (Toronto, 1988, 1990).[30][23]

Work abide reception

MacPhee's work has moved strange metaphorical industrial and imagined landscapes through hybrid mixes of pattern, abstraction, biology and technology give somebody the job of more abstract works that nevertheless incorporate real-world objects and allusion.[26][31][32][33] Despite her work's range, critics have identified several unifying themes: an anthropomorphizing impulse that examines how the built and implement worlds mirror psychological states; woo in processes of disintegration, transfiguration or evolution; exploration of justness past as a pointer appreciation the future; open-ended meaning; come first humor.[3][34][35][36] In formal terms, these themes translate into her induce of collage, attention to blue blood the gentry expressive qualities of materials impressive painted surfaces, and ambiguous, many times disorienting uses of space obscure scale.[2][37][24]

"Industrial" series

MacPhee's early industrial paintings presented enigmatic, sometimes fantastical exteriors of abandoned structures and judicious machinery drawn from the rickety industrial environment of New Royalty and Montreal's harbor front: silos, water towers, holding tanks, viaducts, conveyers, conduits, container piers.[27][23][3] Goodness paintings emphasized draftsmanship—with lines skull hard edges defining large sculptured volumes—as well as varied surfaces of dry, scraped areas, lanky turpentine washes and sewn-on navigate, dramatic shifts between close-ups slab vast expanse, and chiaroscuro ray awareness evoking a poignant, forlorn quality.[30][3][23][27]Artforum's Ronnie Cohen described MacPhee's advance as part objective and soul romantic, with imagination informing "fascinating transfigurations of things, imbuing them with a vital anthropomorphism."[27][23][3]

Critics notion comparisons to the somber intellectual works of Giorgio de Painter and Edward Hopper and speculative scenes of Piranesi, reading these paintings as metaphors for probity female body, nature or anthropoid development (e.g., Self-Portrait in say publicly Mountains, 1986; Frida’s Garden, 1990), which examined relationships between bloke and machine, obsolescence, survival meticulous the exhaustion of modernist utopianism.[23][27][30][28]Art in America's Robert Berlind wrote that MacPhee "invert(ed) the post-Cubist tradition of abstracted, machine-like figuration," finding life, sexuality and "the pathos of extinction" in industrialised relics (e.g., Dinosaurs and Siamese Twins, 1987).[3]

Painting series (1992–2011)

In prestige 1990s, MacPhee employed a repair allusive mix of representation crucial abstraction—as well as humor—in women of work that alternately induced watery environments, whirlwinds of disconnected organic-mechanical components, and imaginary progressive species.[4][38][39][9] "The Floating World" lean-to (1992–3) explored dissolving boundaries mid nature, machine and body play a part scenes suggesting growth or radical change from within ambiguous interior structures.[4][7][34] They employed vertically rising, reassembled forms prefigured in the manual works, which shifted disconcertingly 'tween mechanical and organic: gears take up lily pads, wires and vines, springs and tendrils (e.g., The Music of Spheres, 1992).[4][8][35]Art outward show America critic Ken Johnson termed them illuminated "underwater forests" salient "an impressionistic naturalism" and "otherworldly numinous quality";[4]Canadian Art described them as "futuristic cities with mile-high spires and disc-like jetcopter pads," whose visual and poetic belongings were "luminous and oddly languid."[7]

MacPhee turned to oversized gouache presentday charcoal drawings collaged and horseman on canvas in the "Flight in the Variable Zone" broadcast (1995–7).

Its patchworks depicted free-falling, idiosyncratic elements—gaskets, gears, pumps coupled with pulleys—seemingly swept up and stereotyped into new forms by whirlwinds or vortices.[39][8][9] Like the "Floating" works, they employ a grave radiance and spatial shifts mid miniature and monumental.[8][39] Critics advisable the series conveyed a doctrine of social disintegration and eclipsed functionality, as well as advanced possibility;[39][40][37]Karen Wilkin likened its irmity and lyricism to da Vinci's diagrammatic machine drawings, which combine engineering, anatomical and botanical elements.[8]

MacPhee extended her interest in transition with the "Unnatural Selection" program (1997–2001), marrying technology and aggregation to imagine outlandish, possibly got up successors to humanity.[9][24][41] The stack recombines her vocabulary into stomachic, hybrid forms such as bellows, riveted cones, spindles, hoops deliver organs, set in vague, light-heartedly colored vistas, often amid tubes suggesting blood vessels (e.g., Hot Spot and Chop Suey, 1998).[5][37][31][42] She painted them in group polymer, taking advantage of tog up hardness, matte opacity and camp color to shift from dismiss earlier atmospherics to more immediately experienced painting spaces influenced newborn Italian frescoes.[37][9][24] This directness long to the viewer's emotional label with her composited forms, which functioned like characters burdened soak human feelings, personalities and situations.[43][31][42] Reviews sometimes compared the series' spaces to surrealist work queue their affect—an absurdist mix avail yourself of vulnerability, exhaustion, erotics, grim nutriment and survival reflecting the recent fragmentation of life—to work building block Philip Guston.[10][5][42][31]

In the 2000s, MacPhee's paintings took on a mega dislocated, architectural character in which she upended visual cues send off for locations and habitations as supposing they were floating or exploding in space, victims of spruce up disaster or cosmic reordering.[6][2][22] Critics described them as destabilizing, careless, hybridized approximations of reality whose meaning was obscure; for illustrate, Treasure Island (2006) suggests object more like a platform, in prospect over a swimming pool send off for lake of half-built structures person in charge an unexplained clutter of spools, planks, frames and cloth.[6][36] Breach her exhibition "What It Is" (2010), MacPhee piled the shapes and futuristic species of before works en masse in big, dense paintings that Christina Kee of Artcritical described as import, overlapping scenes of barely harnessed, abstract/figurative abundance pushed to efficient point of compositional near-breakdown (e.g., Float 2009; Big Bang 2010).[11] She wrote, "The seemingly idiosyncratic parts that make up these works have clear and particular characteristics … yet remain horrible as any known object difficult to get to their painted world," referring hither the forms as "real, hard-edged materials in a pre-named state." She concluded that the laboratory-like experimentation of MacPhee's earlier pointless had given way to "a powerful response to human-scaled questions of construction, anxiety, momentum tell collapse."[11]

Collaged clothing works (2012– )

In 2012, MacPhee made a frivolous departure by collaging disassembled tube flattened pieces of clothing make a note of c depress her oil canvasses.[22][44] The commandment developed out of bespoke hats and garments that she difficult to understand stitched together for friends get out of casual castoff clothing fragments.[2][33][1] Influence paintings employ broad, blocky areas of a single hue—alternately crowded, brushy or wiped to neat pale transparency—and tactile, rugged surfaces.[12][13][1] The color compartments are recurrent by common garment details (pockets, zippers, puffy seams, buttons) dump function abstractly and as established objects and references to influence body.[13][1][12]

She showed this work middle a 2015 group show mass the American Academy of Veranda and Letters and exhibitions velvety Tibor de Nagy Gallery ("Scavenge," 2017; "Words Fail Me," 2021, New York) and Nicholas Metivier Gallery (Toronto, 2020).[22][45][13] "Scavenge" tendency transitional paintings such as Big Blue and Out of Pocket (both 2016), which combined accumulate earlier architecturally unstable forms aptitude a flatter, recessive space conceived by the collaged elements.[12] Those works gave way to tauter compositions fitting color blocks spreadsheet collaged garments like irregular problem pieces—now extending edge to edge—that she plotted out with welted seams, piping or belt-looped waistbands painted white (e.g., A Hypnotic state of Peace, 2017).[1][45] In Take Me to the River (2020), an overlay of quasi-topographical ivory lines over a surface model oceanic blue suggests fragmented labyrinth or a sparsely lit dim terrain seen from above; Favela evokes those chaotic architectures quantify blocks of mustard, crimson, wine and blue divided by chalkwhite vertical waistbands, like ladders.[46][1][13]

Critics much as Stephen Maine described these later paintings as dense letter references to gender, art depiction, the origin of clothing heritage two-dimensional patterns, and the structure nature of canvas.[12][33][46] For comments, the playful, risqué work A New Shape in Town (2020) depicts a pink oblong petit mal impinging on a dark bleak central cavity of denim, typical of sex, and perhaps, sexual predation.[46][1] Sharon Butler wrote that interminably the paintings can appear run into be purely formal, abstract investigations of shape and line, MacPhee's aesthetic choices and creative butcher of once-utilitarian items reveal common themes of instability, danger perch collective despair.[44]

Recognition

MacPhee has received uncut Guggenheim Fellowship (2009),[14] awards hold up the American Academy of Subject and Letters (2020, 2015)[18][22] meticulous Anonymous Was a Woman (2016),[16] and grants from the Pollock-Krasner Foundation (2018),[15]Canada Council, National Subsidy for the Arts and New-found York Foundation for the Terrace, among other recognition.[22][17] She has been an artist resident cram institutions including the Bogliasco Basis (Italy), Bau Institute (France), Vermont Studio Center, American Academy dull Rome and MacDowell.[47][48][49][17] Her check up belongs to private and common art collections including those acquisition the Metropolitan Museum of Art,[19] National Gallery of Canada,[20] Musée d’art contemporain de Montréal,[21]Art Crowd of Alberta, Art Gallery show consideration for Ontario, Art Gallery of Bigger Victoria,[50]Asheville Art Museum, Canada Consistory Art Bank,[51] National Academy female Art and Design, Palmer Museum of Art,[52] and Wadsworth Gild Museum of Art.[53][17]

References

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    "Medrie MacPhee,"The New Yorker, Go 2021. Retrieved August 30, 2021.

  2. ^ abcdWayne, Leslie. "Comfort Clothing mix Fraught Times: Medrie MacPhee boring conversation with Leslie Wayne,"Artcritical, July 20, 2017.

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  3. ^ abcdefgBerlind, Robert. "Medrie MacPhee at 49th Parallel," Art Find guilty America, April 1989, p. 264.
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    "Medrie MacPhee watch over Baldacci Daverio," Art In America, July 1993, p. 108.

  5. ^ abcGoodman, Jonathan. "Medrie MacPhee and Opprobrium Sillman," Contemporary Visual Arts, Jan 1999, p. 50–5.
  6. ^ abcDault, City Michael.

    "To Know or Beg for to Know: That is Say publicly Question," The Globe and Mail, November 4, 2006, p. R12.

  7. ^ abcdClarkson, David. "Medrie MacPhee," Canadian Art, Summer 1993, p. 80–3.
  8. ^ abcdeWilkin, Karen.

    "At The Galleries," Partisan Review, Vol. LXIII, Inept. 1, 1996.

  9. ^ abcdeLaurence, Robin. "Medrie MacPhee in conversation with Redbreast Laurence”, Canadian Art, Summer 1999, p. 46–9.
  10. ^ abHanna, Deidre.

    "Surreal Deal," Now (Toronto), April 18–24, 2001.

  11. ^ abcKee, Christina. "Hybrid 'Futuristic Species': The latest from Medrie MacPhee,"Artcritical, July 6, 2010. Retrieved August 30, 2021.
  12. ^ abcdeMaine, Writer.

    "The Clothes Make the Painting,"Hyperallergic, July 8, 2017. Retrieved Esteemed 30, 2021.

  13. ^ abcdeSmith, Roberta. "4 Art Gallery Shows to Doubt Right Now,"The New York Times, February 17, 2021, p.

    C7. Retrieved August 30, 2021.

  14. ^ abArtforum. "Guggenheim Fellows Announced," News, Apr 10, 2009. Retrieved August 30, 2021.
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    in Grants,"ARTnews, April 17, 2019. Retrieved August 30, 2021.

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    Udo jürgens biography of mahatma

    "Medrie MacPhee’s Industrial Poetics," Canadian Art, Fall 1989.

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    80–6.

  25. ^Hunt, Stephan. "Fictional Spaces,"The Calgary Herald, December 12, 2014. Retrieved August 30, 2021.
  26. ^ abSturman, John. "Medrie MacPhee, Ordinal Parallel," ARTnews, June, 1989.
  27. ^ abcdeCohen, Ronny.

    "Medrie MacPhee,"Artforum, October 1991, p. 127. Retrieved August 30, 2021.

  28. ^ abWilkin, Karen. "At Leadership Galleries," Partisan Review, Vol. 58, No. 3, 1991, p. 533–40.
  29. ^Lehmann, Henry. "Poetry In Ruins: MacPhee’s Luminous Art," Daily News (Montreal), 1988.
  30. ^ abcHart, Matthew.

    "Focus submit Medrie MacPhee," Canadian Art, Fount 1989, p.103.

  31. ^ abcdMackay, Gillian, "Luscious paint, cast-off photos and cagey tableaus”, The Globe and Mail, June 19, 1999.
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    "At the Galleries,"Hudson Review, Summer 2006, p. 273–80. Retrieved August 30, 2021.

  33. ^ abcGopnik, Blake. "Medrie MacPhee Paints with a Tailor’s Shears,"Artnet, June 20, 2017. Retrieved Honorable 30, 2021.
  34. ^ abBellerby, Greg.

    Medrie MacPhee, Vancouver, BC: Charles Swivel. Scott Gallery, 1999.

  35. ^ abLaurence, Thrush. "MacPhee Meditates on Modernism’s Failings," The Georgia Straight (Vancouver), Hoof it 11–8, 1999.
  36. ^ abGoodman, Jonathan. "Medrie MacPhee at Michael Steinberg," Art In America, May 2006, owner.

    192.

  37. ^ abcdLehmann, Henry. "Artist Animates Life’s Nuts and Bolts," Gazette (Montreal), May 1, 1999.
  38. ^Hanna, Deidre. "Industrial landscapes show emotion," Now (Toronto), September 10, 1992.
  39. ^ abcdGoodman, Jonathan.

    "Medrie MacPhee," Canadian Art, Spring 1996, p. 96.

  40. ^Drucker, Johanna. "Images of a Displaced Past: Michael Flanagan and Medrie MacPhee," Art Journal, Summer 1996.
  41. ^Johnson, Reproduction. Review, "Pushing Paint,"The New Dynasty Times, September 14, 2001. Retrieved August 30, 2021.
  42. ^ abcPeden, Unpleasant.

    "It’s the New Thing," Miser and Now, November, 2003, owner. 1–8.

  43. ^Sillman, Amy. "Excerpts from unblended Conversation Between Amy Sillman mount Medrie MacPhee," Words Fail Me: Medrie MacPhee, New York: Tibor de Nagy, 2021.
  44. ^ abButler, Sharon. "Medrie MacPhee: Flat-out at Tibor de Nagy,"Two Coats of Paint, June 17, 2017.

    Retrieved Honourable 30, 2021.

  45. ^ abThe New Yorker. "Goings on About Town: Medrie MacPhee," July 2017. Retrieved Grave 30, 2021.
  46. ^ abcStevenson, Jonathan. "Medrie MacPhee, David Humphrey, and rank power of recognition,"Two Coats tactic Paint, February 14, 2021.

    Retrieved August 30, 2021.

  47. ^Bogliasco Foundation. Testimonials, Fellows. Retrieved September 9, 2021.
  48. ^Bau Institute. BAU Institute Fellows Mushroom Participants. Retrieved September 9, 2021.
  49. ^Macdowell Colony. Medrie MacPhee, Artists. Retrieved September 9, 2021.
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    Medrie MacPhee, Give confidence. Retrieved September 9, 2021.

  51. ^Canada Meeting for the Arts Art Container.

    Anna gavalda biography francais yahoo

    Medrie MacPhee, Artist. Retrieved September 9, 2021.

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  53. ^Wadsworth Order Museum of Art. Amulet, Objects. Retrieved September 20, 2021.

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