Mario Ybarra, Jr. on Edward Kienholz /// Artists on Art

Mario Ybarra, Jr. on Edward Kienholz /// Artists on Art



storytelling in my work and storytelling and Kienholz work both super important chunks of what is going on I've been thinking about my art practice this term has been coming to mind and it's been used what you have the most intriguing and weird detail like right now I'm finding like it looks like a woman slipper there that's kind of shoved underneath this bucket that sandal just on a personal note was I went to visit my grandmother and my grandmother's always really put together woman and one day she had a pair of canvas sneakers on and the glue on the sneaker was coming apart a little bit and it got me depressed because she liked the image of my grandmother is always so presented so when I'm looking at this work I'm there's certain things that connect with like the grandeur narrative that Keane holes would have been putting together and the personal kind of details that I would pull out and somehow try to correspond or relate to my own experience there's their their relationships their there their roads their channels between our material world and what we consider a poetic you know words are words and you we use them all the time if we start using words to make poetry or literature they become art right so if we think about the words as our material a shopping cart as our material a baby doll as our material a lamp as our material you know the little orange stool as a material you know such a painterly gesture and with somebody like Keane holds he's pushing the image of what a materiality could be I think that that's what artists should do they should really push things and that's what gets exciting about contemporary art because contemporary art uses everything you use the world and that's what we get to see the new exhibitions that happen and artists that are pushing things and you see me like oh my god like oh everything is a material and every can be infused with the poetic to create art

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