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Untitled (Black over Red Orange "Mean as a Snake" Face 842)
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Mesmerizing in its chromatic verve and irrepressible physicality, Mark Grotjahns Untitled (Black over Red Orange Mean as a Snake Face 842) elegantly negotiates a series of dialectical opposites, seamlessly oscillating between order and chaos, figuration and abstraction, the painterly and the sculptural. The enigmatic work, produced in 2009-10, belongs to the artists series of Face paintings, an exemplary body of work that he began at the turn of the millennium, defined by his ongoing thematic preoccupation with faces and masks. Grotjahn created Untitled (Black over Red Orange Mean as a Snake Face 842) using sheets of primed cardboard mounted on linen, with the aid of a paintbrush and palette knife, to build the works densely textured, complexly layered surface. The large frontal painting, measuring over eight feet tall and six feet wide, immerses viewers in a two-dimensional labyrinth, directing their eyes towards an infinite webbing of multicolored lines that simultaneously reveal and undermine their making. Such enthralling visual qualities are generated by Grotjahns craftsman-like attention to process and self-evident mastery of the fundamental elements of painting.Grotjahns Face paintings developed organically out of the artists well-known formalist Butterfly paintings, in which planes of contrasting hues extend from varying vanishing points. However, in contrast to the iconic Butterfly paintings, Grotjahns Face paintings, such as the present, provide a more direct, unmediated reflection of the artists subjectivity, given their highly expressive nature and visceral materiality. As the artist remarked: The Face paintings allow me to express myself in a way that the Butterflies dont, I have an idea as to what sort of face is going to happen when I do a Face Painting, but I dont exactly know what color it will take, or how many eyes its going to have, whereas the Butterflies are fairly planned out... (Mark Grotjahn in conversation with Jan Tumlir, Big Nose Baby and the Moose, Flash Art, No. 252, January-February 2007, online resource).\nIn Untitled (Black over Red Orange Mean as a Snake Face 842), a totemic, disfigured face takes central stage, abstractly composed of emboldened eyes hovering above one other, two pairs of elongated flaring nostrils converging below and a downward slanting mouth, left slightly open to expose a set of jagged teeth. In addition, these anthropomorphic features hover within an undefinable space, geometrically dissected by a multiplex of thickly painted lines. Thus, in the present work, Grotjahns skillful synthesis of abstraction and figuration produces a captivating visual effect whereby the line between form and likeliness is indistinguishable.(Barry Schwabsky, Mark Grotjahn, Aspen, 2012, p. 62) In other words, both the frontal visage and the paint itself become active subjects in Grotjahns tactile composition.\nGrotjahns evocation of the mask also echoes the early modernist affinity for traditional African aesthetics, evident in the mask-like forms used by Picasso, Matisse and Brancusi. Although Grotjahns work adheres to the modernist lineage in its adept combination of abstraction and portraiture, the painting evolves the historically loaded iconography by imbuing the mask with a life of its own; in Untitled, the brightly painted, almond-shaped eyes draw the viewers attention by enacting its own gaze, thereby reciprocating the gaze of the viewer. By creating a painted subject that stares back, Grotjahn supplements the viewers experience with a sense of urgency. (Andrea K. Scott, Face Value, The New Yorker, June 6, 2011) As art critic, Barry Schwabsky notes, there is something about the painting that makes it want to be seen. This is due to the masks indication of elusive facial expressions such as a subtle wink or suggestive grin. Schwabsky also states that "there is something else that wants to remain hidden, obscure. (Ibid., p.63). Therefore, Untitleds uniqueness resides in its paradoxical embodiment of visibility and opacity.\nHypnotic, raw and audacious, the present work leaves the viewer in a state of ethereal sensuality. The paintings heavily labored surface, the product of Grotjahns agonizing exercise, makes Untitled (Black over Red Orange Mean as a Snake Face 842) an ode to process and artistic determination. Moreover, by coaxing the physiognomic imagery of traditional African imagery, the multi-layered perspectives of cubism, the gestural dynamism of Abstract Expressionism and the optical effects of Minimal art, the work stands intelligently positioned between a plethora of interrelated art historical references. The present works true brilliance, however, lies in its dissolution of the figure-ground distinction. As Mark Prince observes: The facial symbols which the context of the Face series leads us to expect are everywhere and nowhere. Subject and object melt into each other, the human self into the otherness of the unhuman nature of leaves, branching boughs, dense undergrowth; or, in contrast with the organic implications of both, into the inorganic materiality of pigment. (Mark Prince, The Divided Self, in: Exh. Cat., Freiburg, Kunstverein Freiburg, Mark Grotjahn: Circus Circus, 2014, p. 27) Viewed in this light, the poignant beauty of Grotjahns Untitled (Black over Red Orange Mean as a Snake Face 842) originates in its articulation of paintings ability to conjure the ambiguities of human existence.\nSigned and dated 10; signed, titled, dated 2009-2010, and numbered #842 on the overlap
US
NY, US
US

medium

Oil on cardboard mounted on linen

creator

Grotjahn, Mark

dimensions

101 1/2 by 72 1/2 in. 257.8 by 184.2 cm.

exhibition

Los Angeles, Blum & Poe, Seven Faces, February - April 2010, n.p., illustrated in color

provenance

Blum & Poe, Los Angeles Acquired from the above by David Teiger in March 2010

signedDate

Signed and dated 10; signed, titled, dated 2009-2010, and numbered #842 on the overlap

artist_range_end

1968

artist_range_start

1968

consignmentDesignation

The History of Now: The Collection of David Teiger Sold to Benefit Teiger Foundation for the support of contemporary art

creator_nationality_dates

B. 1968


*Note: The price is not recalculated to the current value. It refers to the actual final price at the time the item was sold.

*Note: The price is not recalculated to the current value. It refers to the actual final price at the time the item was sold.


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