Tyler Emerson-Dorsch exhibition catalog by Elisabeth...
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JOURNAL Introduction essay to Elisabeth Condon 2019 exhibition catalog by Tyler Emerson-Dorsch This essay by Tyler Emerson-Dorsch about Elisabeth Condon was originally published in the exhibition catalog called Elisabeth Condon: Effulgence in 2019. BY TYLER EMERSON-DORSCH SHARE It is a great pleasure to present Effulgence, Elisabeth Condon’s show of new paintings. Elisabeth’s intellect, spirit and sharp wit are on a full view in these pieces. As Franklin Einspruch wrote of her, “to know Elisabeth Condon is to understand the magnitude of art in her head.” Her knowledge of art history and her commitment to sustained examination of past and present paintings have inspired me since I rst began working with her in 2008. She is more than these attributes though. Eisnpruch gets it right when he elaborates that Elisabeth’s head in that sentence is better understood as the Chinese word for heart, xin, which encompasses all aspects of enlightened being. Sporting cropped red hair and vividly patterned clothes, her spritely presence vibrates with her passion for art and life. Her inexhaustible research fuels her practice, which begins a monk-like ritual each day and nishes aer painting until 2 or 3am each night. Her Tampa studio, where she made the paintings for this show, has about 50 paint pots laid out on two or three tables, brushes neatly divided by size and texture, and paintings all around. The space has a loed ceiling and natural light spills through the windows high above. The painting process in this show came on the heels of a two week print-making residency with Graphicstudio, one of more than twenty renowned residencies all over the word Condon has attended through the years. Her travels are part of her research. She summoned her time in New, NY where she spends half of the year, in her depiction of pigeons as symbols of that city’s landscape. Oen within a single painting there is conict, like a desire to be in another place than where she is. She tells me that when she is in New York she thirsts for Florida’s lushness and space. Other conicts manifest in her treatment of her subjects – they are not always easy depictions. She oen explodes, obliterates or dissolves the owers entirely. She can be irreverent. She enacts ambivalence while committing fully. The battle on view is part of the show. Elisabeth Condon, 2019 Installation view Eulgence at Emerson Dorsch Condon’s erudition as a collector of visual material and as a practicing painter cannot be understated. The categories and depths of her references include the history of painting, pattern and decoration, Chinese literati painting, Chinese ink brush painting. In this catalog, Jason Stopa’s essay entitled “Domestic Aesthetics,” examines Condon’s new paintings with a painter’s eye. He situates her work both in the history of paintings and among peers. Stopa conveys the sense that for Condon, the ower motif is a pretext for painting prowess: “if the viewer takes the bait the symbol is used as a vehicle for image making itself.” The trellis wallpaper and ower motifs’ origins lie in her conservative childhood home in Los Angeles and her rebellion against it. Her continued focus on the motifs – since 2016 – is related to her own sustained interest in both landscape and Chinese Academic Painting of the Yuan and Song Dynasties. Treating decorations as part of girlhood as subject, then, puts her in the company of Joyce Kozloff, while the focus on pattern is related but also quite distinct from Valerie Jaudon. Flowers as a subject has a long and wide history, and in modernism, the most important antecedent is Georgia O’Keefe, whose curved volumes and use of New Mexico light emphatically transcended numerous biases on the road to greatness. Yet painting owers continues to be a risk. If you are still uncertain, consider the role of pleasure – relish Condon’s de use of color, her peerless command of the pour, and her compositional achievements. Relish watching her ght for – and win – our attention. Elisabeth Condon, Trumpet Flower, 2019, ink, acrylic on linen, 40 x 52 inches. Condon’s erudition as a collector of visual material and as a practicing painter cannot be understated. The categories and depths of her references include the history of painting, pattern and decoration, Chinese literati painting, Chinese ink brush painting. In this catalog, Jason Stopa’s essay entitled “Domestic Aesthetics,” examines Condon’s new paintings with a painter’s eye. He situates her work both in the history of paintings and among peers. Stopa conveys the sense that for Condon, the ower motif is a pretext for painting prowess: “if the viewer takes the bait the symbol is used as a vehicle for image making itself.” The trellis wallpaper and ower motifs’ origins lie in her conservative childhood home in Los Angeles and her rebellion against it. Her continued focus on the motifs – since 2016 – is related to her own sustained interest in both landscape and Chinese Academic Painting of the Yuan and Song Dynasties. Treating decorations as part of girlhood as subject, then, puts her in the company of Joyce Kozloff, while the focus on pattern is related but also quite distinct from Valerie Jaudon. Flowers as a subject has a long and wide history, and in modernism, the most important antecedent is Georgia O’Keefe, whose curved volumes and use of New Mexico light emphatically transcended numerous biases on the road to greatness. Yet painting owers continues to be a risk. If you are still uncertain, consider the role of pleasure – relish Condon’s de use of color, her peerless command of the pour, and her compositional achievements. Relish watching her ght for – and win – our attention. Related For a complete list of related materials please contact us. Newsletter Email First Name Last Name JOIN Emerson Dorsch is a contemporary art gallery with two complementary roles: to represent a core group of select South Florida-based artists, to host and represent excellent emerging and mid-career visiting artists. CONTACT 5900 NW 2nd Avenue Miami, FL 33127, United States Get Directions +1 305 576 1278 Email Us HOURS Wednesday - Saturday Noon - 5 pm By appointment Privacy Policy © Emerson Dorsch / All rights reserved Made with in Miami by Fulano
Transcript of Tyler Emerson-Dorsch exhibition catalog by Elisabeth...
JOURNAL
Introduction essay toElisabeth Condon 2019exhibition catalog byTyler Emerson-DorschThis essay by Tyler Emerson-Dorsch about ElisabethCondon was originally published in the exhibitioncatalog called Elisabeth Condon: Effulgence in 2019.BY TYLER EMERSON-DORSCH
SHARE
It is a great pleasure to present Effulgence, Elisabeth Condon’s show of new paintings. Elisabeth’sintellect, spirit and sharp wit are on a full view in these pieces. As Franklin Einspruch wrote ofher, “to know Elisabeth Condon is to understand the magnitude of art in her head.” Herknowledge of art history and her commitment to sustained examination of past and presentpaintings have inspired me since I �rst began working with her in 2008. She is more than theseattributes though. Eisnpruch gets it right when he elaborates that Elisabeth’s head in thatsentence is better understood as the Chinese word for heart, xin, which encompasses all aspectsof enlightened being. Sporting cropped red hair and vividly patterned clothes, her spritelypresence vibrates with her passion for art and life.
Her inexhaustible research fuels her practice, which begins a monk-like ritual each day and�nishes a�er painting until 2 or 3am each night. Her Tampa studio, where she made thepaintings for this show, has about 50 paint pots laid out on two or three tables, brushes neatlydivided by size and texture, and paintings all around. The space has a lo�ed ceiling and naturallight spills through the windows high above. The painting process in this show came on the heelsof a two week print-making residency with Graphicstudio, one of more than twenty renownedresidencies all over the word Condon has attended through the years. Her travels are part of herresearch. She summoned her time in New, NY where she spends half of the year, in her depictionof pigeons as symbols of that city’s landscape. O�en within a single painting there is con�ict, likea desire to be in another place than where she is. She tells me that when she is in New York shethirsts for Florida’s lushness and space. Other con�icts manifest in her treatment of her subjects– they are not always easy depictions. She o�en explodes, obliterates or dissolves the �owersentirely. She can be irreverent. She enacts ambivalence while committing fully. The battle onview is part of the show.
Elisabeth Condon, 2019 Installation view E�ulgence at Emerson Dorsch
Condon’s erudition as a collector of visual material and as a practicing painter cannot beunderstated. The categories and depths of her references include the history of painting, patternand decoration, Chinese literati painting, Chinese ink brush painting. In this catalog, JasonStopa’s essay entitled “Domestic Aesthetics,” examines Condon’s new paintings with a painter’seye. He situates her work both in the history of paintings and among peers. Stopa conveys thesense that for Condon, the �ower motif is a pretext for painting prowess: “if the viewer takes thebait the symbol is used as a vehicle for image making itself.” The trellis wallpaper and �owermotifs’ origins lie in her conservative childhood home in Los Angeles and her rebellion against it.
Her continued focus on the motifs – since 2016 – is related to her own sustained interest in bothlandscape and Chinese Academic Painting of the Yuan and Song Dynasties. Treating decorationsas part of girlhood as subject, then, puts her in the company of Joyce Kozloff, while the focus onpattern is related but also quite distinct from Valerie Jaudon. Flowers as a subject has a long andwide history, and in modernism, the most important antecedent is Georgia O’Keefe, whosecurved volumes and use of New Mexico light emphatically transcended numerous biases on theroad to greatness. Yet painting �owers continues to be a risk. If you are still uncertain, considerthe role of pleasure – relish Condon’s de� use of color, her peerless command of the pour, andher compositional achievements. Relish watching her �ght for – and win – our attention.
Elisabeth Condon, Trumpet Flower, 2019, ink, acrylic on linen, 40 x 52 inches.
Condon’s erudition as a collector of visual material and as a practicing painter cannot beunderstated. The categories and depths of her references include the history of painting, patternand decoration, Chinese literati painting, Chinese ink brush painting. In this catalog, JasonStopa’s essay entitled “Domestic Aesthetics,” examines Condon’s new paintings with a painter’seye. He situates her work both in the history of paintings and among peers. Stopa conveys thesense that for Condon, the �ower motif is a pretext for painting prowess: “if the viewer takes thebait the symbol is used as a vehicle for image making itself.” The trellis wallpaper and �owermotifs’ origins lie in her conservative childhood home in Los Angeles and her rebellion against it.
Her continued focus on the motifs – since 2016 – is related to her own sustained interest in bothlandscape and Chinese Academic Painting of the Yuan and Song Dynasties. Treating decorationsas part of girlhood as subject, then, puts her in the company of Joyce Kozloff, while the focus onpattern is related but also quite distinct from Valerie Jaudon. Flowers as a subject has a long andwide history, and in modernism, the most important antecedent is Georgia O’Keefe, whosecurved volumes and use of New Mexico light emphatically transcended numerous biases on theroad to greatness. Yet painting �owers continues to be a risk. If you are still uncertain, considerthe role of pleasure – relish Condon’s de� use of color, her peerless command of the pour, andher compositional achievements. Relish watching her �ght for – and win – our attention.
RelatedFor a complete list of relatedmaterials please contact us.
Newsletter
Email First Name Last Name J O I N
Emerson Dorsch is a contemporary art gallery with two complementaryroles: to represent a core group of select South Florida-based artists, tohost and represent excellent emerging and mid-career visiting artists.
CONTACT
5900 NW 2nd AvenueMiami, FL 33127,United States
Get Directions
+1 305 576 1278
Email Us
HOURS
Wednesday - SaturdayNoon - 5 pm
By appointment
Privacy Policy
© Emerson Dorsch / All rights reserved Made with � in Miami by Fulano
