'Women work real hard, and they’re the backbone, and now I’m celebrating that kind of thing by really using them as the main thrust.'
At both locations, vibrant compositions bubble with life. Her characters—some distinctly human, others animal, and the rest ambiguously in-between—engage one another in bizarre, spectacular landscapes: playing, fighting, flirting. Nilsson’s paintings and drawings reflect the cheeky, psychedelic exaggerations often associated with, the art collective she was part of in the late-’60s with five other alumni of the School of the Art Institute of Chicago.
, the exhibition offered a surprising look-back. She walked us through some of the works, and how she’s kept painting interesting for herself over the last fifty years.Acrylic on Panel in Artist’s Frame, 13 1/8 x 15 ¾ in. © Gladys Nilsson, Courtesy Garth Greenan Gallery and Matthew Marks Gallery. I’m assuming this painting is where the show’s title comes from, and I looked at it because I thought, ‘Honk? Well that’s a strange name. I wonder where they got that from?’ And then I got to the show and I looked at [the painting], and I thought, ‘Well, that makes perfect sense.’ Here are all these people, and they’ve got these little horns in their mouths and they’re all old, even though they have yellow hair, and they’ve got canes.
Black paper is really interesting, or black canvas for that matter. If you’ve ever painted on black velvet, like those Elvis paintings that you would see on intersections–someone sets up to sell Elvis paintings. But I guess it’s really curious because it reverses all of the known factors that you don’t even think about when you do a line drawing on a white piece of paper.
Norge Siste Nytt, Norge Overskrifter
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