The Retrospective at Tibor de Nagy Gallery nnn March-April From a review by Peter Schjeldahl, Village Voice April 22, Now here is a pocket Brainard retrospective, full of things to just about buckle my knees with recollected and renewed pleasure. It is rather unsettling to confront a perfect little watercolor of some pansies with the consciousness that no "appropriate response" is possible.
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A beautiful, living thing that at first seems to promise meaning. This is the wittiest show of the winter.
That he was teaching us a lesson. In this artist's hands, even a Holiday Inna few boxes of Tide, or a comic-strip character like Nancy looks like something from an imaginary, pre-industrial world, viewed enw the enchanted love of a remembered first encounter. A painter said, "He just puts down a color, and it's right.
Behind this talk was the felt conviction that Brainard as an artist was going to add up to more than the sum of the hundreds of thousands of pieces he produced before he quit the business. There is also many transvestites in the Brainard area.
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cgat Among other things, Joe nailed, one after another, every major variety of aesthetic kick proper to the art of collage past, present, and humanly possible. Brainard characteristically worked in several styles at once. Third Solo Exhibition Landau-Alan Gallery March April 17, From a review by Peter Schjeldahl, Art International May Joe Brainard's show of flower paintings and collages at the Landau-Alan Gallery, though modest in scope and scale, further confirmed the presence in our midst of a prodigiously talented and original young artist.
Here they merely continue, each as beautiful as the others, but only beautiful, with nothing behind it, and yet. From an uned review in New York [These oil paintings are] brilliant, unselfconscious, charming. No moment of the day is dead to him. He will be unique or nothing.
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There are racy early Popish paintings and collages, riotous pseudoreligious assemblages such as an evilly green one keyed to ranked bottles of Prell shampooexquisite oil studies like rebirths of Berthe Morisot, and breathtakingly lovely painted and cutout paper gardens of ordinary flowers, with a modestly magnificent effect like Beethoven's Ode to Joy played on toy pianos.
If you walk briskly through a room of Vermeers in the Rijksmuseum in Amsterdam without even staring at them, you still catch flashes of luminescence peripherally. The Alan Gallery JanuaryFrom the brochure essay by John Ashbery [Brainard's work forms] a glittering microcosm, ordered, very formal, very dramatic, and beautiful, and he chzt that beauty is really interesting after all. From the exhibition catalog essay by Robert Rosenblum In this ambience of gentle affection, even the crassest stuff of Rkom refuses to look vulgar when transported to Brainard-land.
It is, more than any noble fixation, a markedly fluid, meaningful style, a refreshingly old way of perceiving new things which, by its artful interweaving of skill with force of personality, is continually in the process of clearly revamping itself.
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It is the pictures that are beautiful. That he was a bodhisattva, not just burned-out.
From the cover article by Brad Gooch, Artforum February Yorj [Joe] was up to, artwise, was keeping his look fresh, his vision uncorrected. The artist is, as has been said, a "creative" and diverse talent, and one of the triumphs of his new show is the unusual but undeniable equation it makes between quantity and quality.
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Brainard is approaching 30, but his art has not as yet hardened softened is, perhaps, a better word into a form or a formula. The effect is always of profusion and of strangeness beyond that. It was just such an unusual thing to do. In the all-over ones he calls Gardens like that on the cover [of this issue] the scale is the size of a petal, or its color.
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Parts of this fiction are nearer than others, although distance has been suppressed, or rather, not called into being. I remember endless conversations among us young poets about what Brainard was up to.
Like Nature herself, it challenges us to for its complete, unambiguous beauty, and of course we can't. Lewallen, Berkeley Art Museum Grainard the exhibition catalog essay by Carter Ratcliff Brainard dazzled by taking art back to those moments, early in life, when the very idea of an image becomes intelligible and almost unbearably rich with meaning.
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In Mr. See who's on-line below He makes up in copiousness what he lacks in scale. His latest show is intentionally, one yprk "minor," but what emerges as a result of its scattered thrust is a sense of the exhibition as some kind of rare, major potpourri. From a review by Holland Cotter, New York Times March 28, The show, shrewdly edited to give a sense of this artist's weight and range, is pure delight.
They are ussually quite hard to find, but neww often go on-line to meet other men and women who are into the same interests. Brainard gives both a run for their money, if not with roses then with pansies, and with tulips and poppies tied for second place, row upon row of garden-variety flowers painted with meticulous deftness.
A white Oriental poppy is smaller than a morning glory, Johnny-jump-ups are huge because life-size. Check how many Transvestites live in Cgat York. You just have to look in your local alternative newspapers that are found in night clubs to locate them. Meet yourself a sexy transvestite on-line now. What is a flower, one begins to wonder?