PARRISH ART MUSEUM OPENS
125th ANNIVERSARY EXHIBITION SERIES
“ARTISTS CHOOSE PARRISH, PART I”
FEATURING WORK BY INTERNATIONALLY RENOWNED
EAST END ARTISTS PAIRED WITH THEIR SELECTIONS
FROM THE MUSEUM’S COLLECTION
This first installment of the year-long, three-part series is on view
April 16–August 6, 2023 & April 30-July 23, 2023
Sam Moyer, Season of the Witch, 2022.
Marble, acrylic on plaster-coated canvas mounted to MDF; 58 x 45 x 1 in.
Courtesy of the artist.
WATER MILL, NY 4/11/2023—The Parrish Art Museum opens Artists Choose Parrish, Part I: the first installment of a landmark exhibition series featuring internationally renowned contemporary artists with deep roots on the East End of Long Island, presenting their work alongside their selections from the permanent collection. Celebrating the Museum’s 125-year history as a leading arts institution in the region, Artists Choose Parrish will drive a renewed dialogue between the Museum’s past and future and reveal fresh perspectives on its collection through the lens of a diverse roster of artists. Organized in three installments through February 2024, the exhibition honors the East End’s artistic legacy, bringing together a total of 41 artists practicing in the region today.
Artists Choose Parrish, Part I, highlights 20 artists presented in two overlapping installations: Nanette Carter, Pamela Council, Robert Gober, Mary Heilmann, Sam Moyer, Ugo Rondinone, Cindy Sherman, Leslee Stradford, and Michelle Stuart (on view April 16–August 6); and Tony Bechara, Ross Bleckner, Jeremy Dennis, Eric Fischl, Claude Lawrence, Robert Longo, Eddie Martinez, Enoc Perez, Hank Willis Thomas, Nina Yankowitz, and Joe Zucker (on view April 30–July 23, 2023).
The artists were invited to delve into the Museum’s 3,600-volume holdings online and at the Parrish to select works. Many artists reminisce on the relevance of the East End in their lives and approach to art. The result is a multilayered anthology of visual dialogues from unique perspectives, revealing a shared sense of community on the East End and continuing the artistic legacy of the region that radiates in the global art world. By pairing their work in unexpected and creative manners with work by Museum collection artists from the past and present, the participants crafted new narratives that explore perception and perspective, place and identity, formal connections, or personal and professional relationships.
Eric Fischl, Portrait of an Artist as a Woman, 1989. Oil on linen, 68 x 58 in.
Courtesy the Artist.
Eric Fischl explores the relationship between artist and subject in portraiture—specifically, the focus of the subject’s gaze—through his selections, titled The Painting Stares Back: Portraits of Women from the Parrish Art Museum Collection. Of the 18 portraits of women and girls selected—painted between 1833 and 1970—all but two stare back; and all but two were painted by men. Fischl pairs these with his portrait of Joan Didion, three nudes including April in Paris, 1998, and Portrait of An Artist as a Woman, 1989—where the artist comes face to face with himself as the female subject.
Mary Heilmann chose works as tributes to friends, fellow students, and neighbors on the East End, New York, and California, including Louisa Chase, Susan Rothenberg, and Chuck Close with his portrait of her friend Ross Bleckner. A work by William King is a dedication to a longtime resident of the Hamptons and the only teacher at Berkeley who supported her radical departures within a conservative art department. Heilmann shows a single work, Narrow Lane # 3, 2001, inspired by the view from her Bridgehampton home.
Sam Moyer selected works by artist Lynda Benglis, whom she credits not only for having a direct and lasting impact on her work, but for introducing her to the North Fork of Long Island—a place that has inspired Moyer for years. Three works by Benglis—a papier collé, monoprint, and mixed medium sculpture—are shown with Moyer’s work in various media including black slate, marble, and plaster-coated canvas.
Other connections range from tangential to deeply emotional. Ross Bleckner selected Eric Freeman’s Red Inside Green, 2005, as an in memoriam to his close friend, alongside his own painting Ram Dass, 2020. Claude Lawrence, who is also a musician, chose Jackson Pollock for both his approach to painting and love of jazz. Paired with Untitled (Extra Buttons), 1994, Robert Gober opted for a book of Frank O’Hara poems illustrated by 30 artists because he has been reading the poet’s work.
PERCEPTION AND PERSPECTIVE
Through myriad topics, periods, and styles, Hank Willis Thomas explores how framing and context influence what and how we see. Two retroreflective prints, inspired by Joseph Albers and Augusto Garau’s color theories, reexamine the charged language of color such as “white balance” and “color correction,” while Two Dancers, 2018, created with soccer jerseys, offer new interpretations of Matisse’s work of the same name. Resistance in Black, 2021, Thomas’s black Carrara marble sculpture of an outstretched arm and claw evoking a West African resistance movement, is shown alongside Arlene Wingate’s Eve, n.d., a portrait in white marble, positing that the definition of “hero” or “villain” depends on who is telling the story.
Nina Yankowitz takes over an entire gallery to literally offer alternate perspectives for experiencing art: Reclining lounge chairs invite viewers to look up at works by Tara Donovan, Rashid Johnson, Louisa Chase, Mary Heilmann, and Vija Celmins; a 7-foot platform allows a view from above of a visual sound score woven into a rug. Seated in a heavy chair with tiles, viewers confront Chuck Close’s self-portrait, while small works hang at tilted angles in the distance. Yankowitz chose works relevant to life in America today, including Jackie Black’s Last Meal (Series), 2001–2003, 24 photographs of meals requested by death-row inmates, paired with Yankowitz’ uncanny sculptural paintings of body parts protruding from the wall to imagine “what’s on the other side.”
Jeremy Dennis, The sacredness of Hills, 2020. Metal print, 30 x 40 in.
Courtesy the Artist.
IDENTITY AND A SENSE OF PLACE
Pamela Council felt an affinity for Dan Flavin through their practice involving neon—pairing Auntie, 2021, with Flavin’s the nominal three (to William of Ockham), 1963—and through place: Council’s family was deeply involved to the Baptist Church in Bridgehampton, now Dia Art Foundation’s Dan Flavin Art Institute. Shinnecock Nation member Jeremy Dennis juxtaposes his version of the desecrated indigenous burial grounds in Southampton with a painting by William Merritt Chase. While the latter’sShinnecock Landscape, 1894, was devoid of any Shinnecock people, Dennis’s photograph The Sacredness of Hills, presents an indigenous woman in traditional dress, looming large over a pristine landscape to affirm the continued presence of indigenous people.
Installed as a grid on the four walls of a single gallery, Ugo Rondinone’s the alphabet of my mothers and fathers, 2022, is a 26-panel work comprising pre-industrial farming and kitchen tools he found on farms and at garage sales on Long Island, gilded and arranged on white painted plywood. In a juxtaposition both contradictory and complementary, he selected Alan Shields’ Devil, Devil, Love, 1970—a grid of colorful painted belting, beads, and dowels that will hang from the ceiling.
Joe Zucker’s installation on red burlap is a nod to the former Parrish building and, in particular, A Museum Looks at Itself, a 1992 exhibition that surveyed the Museum’s collection and history. Zucker paired his large scale works Sailboat Box & Lid, 2005, and Regatta 8, 2016, with a wide range of works that point to the importance of life on water, including Harunobu Suzuki’s Japanese woodblock print Cutting the Lotus, ca. 1760; James Abbott McNeill Whistler’s Thames Warehouse, Hobbs Wharf, 1859; J. Turner’s Untitled (River scene, couples seated and strolling), 1889; Betty Parsons’ Untitled, 1927; John Button’s SS Cristoforo Colombo, 1961; and peter campus’Passage at Bellport Harbor, 2010.
Nanette Carter, Cantilever #53 (Teetering), 2020. Oil on Mylar, 32 ¼ x 64 ¼ in.
© Nanette Carter, Courtesy Berry Campbell, New York.
Nanette Carter identified works dating from the mid-1900s until today that are rooted in abstraction—which she defines as a form of liberation—by artists including Perle Fine, Mary Heilmann, Theo Hios, Betty Parsons, and Esteban Vicente. Showing her large-scale abstract collage work Cantilever #53, 2020, alongside Romare Bearden and her Sag Harbor neighbor Frank Wimberley, Carter also pays tribute to two African American artists who greatly influenced her practice as a collage artist.
Michelle Stuart, Gothic Tale: Adeline, 2020. Unique archival pigment print photographs, 9 units, 11 ¼ x 8 ¾ x ⅜ in. each, 34 x 60 in overall. © Michelle Stuart. Courtesy Galerie Lelong & Co., New York
Michelle Stuart based her selections on a shared feeling she describes as “alone with the universe.” Three late-1800s paintings by Albert Pinkham Ryder, Ralph Albert Blakelock, and William Merritt Chase—all of whom she first encountered as a child at Los Angeles County Museum of Art—are presented with two never-before-shown works from her Women’s Series, comprising multiple photographs that reveal poetic narratives. Emaline Had Childhood Incidents, 2019, addresses how women have been historically misunderstood; Gothic Tale: Adeline, 2020, points to the disassociation felt by young people today.
In Paris, 1988, Robert Longo saw Frank Stella’s monumental works of brutally twisted metal evoking a car crash. Inspired by the artist since then, he selected Stella’sIllustrations after El Lissitzky’s Had Gadya: Back Cover, 1982-1984, which Longo describes as a collision and explosion through shapes and color. Likewise, Longo’s charcoal drawing Untitled (Nascar Crash, Daytona), 2021 depicts a self-destructive American pastime.
Cindy Sherman pairs two works from her groundbreaking photo series Untitled Film Stills (1977–80) where she casts herself as characters from film archetypes and female stereotypes, with portraits of women from the 1950s. In dialogue with his tondo Random 39 Colors, 2010, Tony Bechara selected works that defy the rectangular shape, including Leon Polk Smith’s oval painting and a tondo by Ilya Bolotowksy; Leslee Stradford paid homage to Robert Motherwell through her four large-scale abstracts; Eddie Martinez found common ground with artists of previous generations, highlighting largely unfamiliar, pre-1970 collection works by artists including Wilfred Zogbaum, Abraham Hankins, and Frederick Stuart Church. Enoc Perez connected Hans Hoffman’s Image in Green, 1950, with his abstract yet realistic work Dorado Beach Hotel, Puerto Rico, 2023—describing both as full of promise.
Saturday, April 29, 7:00 to 7:45pm
TALK: Participating artists Nanette Carter, Eric Fischl, and Nina Yankowtz and Pamela Council in conversation with Corinne Erni, Deputy Director of Curatorial Affairs and Senior Curator of ArtsReach and Special Projects.
Free for Members | $16 Adults | $12 Seniors | Free for Students, Children
Upcoming Installations of Artists Choose Parrish
PART II On View: August 20, 2023–February 4, 2024
Participating Artists: Marina Adams, Alice Aycock, Vija Celmins, Rachel Feinstein, Ralph Gibson, Sheree Hovsepian, Suzanne McClelland, Alix Pearlstein, Ned Smyth, Donald Sultan, John Torreano, Stanley Whitney
PART III On View: October 29, 2023–February 18, 2024
Participating Artists: Richard Aldrich, Joanne Greenbaum, Virginia Jaramillo, Rashid Johnson, KAWS, Mel Kendrick, David Salle, Sean Scully, Amy Sillman
Artists Choose Parrish is organized by Corinne Erni, Deputy Director of Curatorial Affairs and Senior Curator of ArtsReach and Special Projects, with support fromAssistant Curator and Publications Coordinator Kaitlin Halloran, and Assistant Curator Brianna L. Hernández
The Artists Choose Parrish exhibition is made possible, in part, thanks to the generous support of Bank of America; Stephen Meringoff in honor of Robin and Fred Seegal; Sandy and Stephen Perlbinder; Agnes Gund in honor of Dorothy Lichtenstein; Jennifer and Sean Cohan; Susan and Timothy Davis; Alexandra Stanton and Sam Natapoff; Fern and Lenard Tessler; Jacqueline Brody; The Evelyn Toll Family Foundation; Herman Goldman Foundation; Carole Server and Oliver Frankel; Fred Schmeltzer; and Scott and Margot Ziegler.
The Parrish Art Museum’s programs are made possible, in part, by the New York State Council on the Arts with the support of Governor Kathy Hochul and the New York State Legislature, and by the property taxpayers from the Southampton School District and the Tuckahoe Common School District. Public Funding provided by Suffolk County.
The Parrish Art Museum strives to illuminate the creative process, casting light on how art transforms our experience and understanding of the world in which we live. The Museum fosters connections between individuals, art, and artists through the care and interpretation of the collection, as well as the presentation of exhibitions, publications, educational initiatives, and programs.
A center for cultural engagement with a focus on the East End of Long Island,
the Parrish is a source of inspiration and a destination for the region, the nation,
and the world.
AAQ / Resource:
AAQ / Resource:
AAQ / Resource: