Cecily Brown
Cecily Brown (born 1969) is a British painter. Her style displays the influence of a variety of contemporary painters, from Willem de Kooning, Francis Bacon and Joan Mitchell, to Old Masters like Rubens, Poussin and Goya. Brown lives and works in New York. Personal life. Brown was born and raised in England before moving to New York City in 1994. Prior to moving to New York city, Brown resided in New York as an exchange student from the Slade School of Art in 1992. She is the daughter of novelist Shena Mackay and art critic David Sylvester. From  the age of three Brown wanted to be an artist; she was supported in this ambition by her family, notably by her grandmother and two of her uncles who were also artists. Brown is married to architecture critic Nicolai Ouroussoff; they have one daughter. Since 2014, Brown has been serving on the Board of Directors of the Foundation for Contemporary Arts (FCA). Education. Brown earned a B-TEC Diploma in Art and Design from the Epsom School of Art, Surrey, England (1985–87) (now part of the University for the Creative Arts), took drawing and printmaking classes at Morley College, London  (1987–89), and received a BA degree in Fine Arts from the Slade School of Art, London (1989–93). During her studies she worked as a waitress and, later, in an animation studio. In addition to painting, Brown also studied printmaking and draftsmanship. She earned First Class Honours at the Slade and was the first-prize recipient in the National Competition for British Art Students. Career. Brown left London to sign on to the Gagosian Gallery in New York City. She became known to the art world in the late 1990s through an exhibition of abstracted paintings of rabbits. The rabbits in  the works are frolicking in bacchanalian landscapes. In 1995, the art world took notice of her work when she displayed "Four Letter Heaven" at the Telluride Film Festival; it was shown in the United States as well as Europe. The films consist of sexual and pornographic themes, which she explores in the majority of her work. Brown maintained a studio in the Meatpacking District of Manhattan, then in 2011, she worked from a studio at a former office near Union Square. Work. Painting. Brown uses drawing as a prerequisite to guide her work. Through the use of repetition, Brown captures  images that both attract and confound her.  Though her drawings are not as exhibited as her paintings, both art mediums contain similar aspects in showcasing her erotic view of art through subject matter. Brown states, “I want to make forms that are either just dissolving or in the process of just becoming something and to play with the relationship between the eye and the brain.” Brown's paintings combine figuration and utter abstraction while exploring the power relationship between male and female. Expanding the tradition of abstract expressionism, she has become known for a painting style suggestive of abstract and  abstract expressionist painters such as Willem de Kooning and Oskar Kokoschka. Brown has minimal anxiety about the art media she uses; she said in an interview with Lari Pittman that "As someone who works with traditional materials, I've always had little anxiety that the medium isn't contemporary enough, that the work could have been made at almost any time." In her interview with Pittman she discussed how she defines 'sexy' and 'sexual' in her work: "I suppose you could say that the sexual is in every painting, whether there is an overt subject or not. The tension within  the painting, whatever the subject, is the desired outcome. The sexy would be the girl's lipstick smile or the shoe--the physical object from the three-dimensional world placed within the painting." When she begins a painting, she generally doesn't have an exact idea of what she is trying to achieve, but she lets the final painting reveal itself as she works. Whilst painting she likes to let the paintings develop and change drastically, because she believes the surprise makes her work more interesting. Brown says, "All the paintings I'm working on have more or less the  same impetus; the same thoughts are driving them. I like there to be an argument within a painting." Sexuality and attraction are important themes in her work, which she explores through semi-figurative and abstract means. The way she handles paint within her work, becomes the subject matter itself by engulfing her figures within the paint or to use it to add a sense of humor to her sexual imagery. The main characteristic of Brown's paintings is her use of motion, expressive mark-making and many mixtures of color throughout her pieces. She also constantly changes palettes, so her  work consistently shifts over time. Her paintings also recall the works of Philip Guston and the Bay Area Figurative School of the 1950s and 1960s. Brown often titles her paintings after classic Hollywood films and musicals, such as "The Pyjama Game", "The Bedtime Story" and "The Fugitive Kind". Brown said in an interview that "One of the main things I would like my work to do is to reveal itself slowly, continuously and for you never to feel that you're really finished looking at something." She also said in another interview that she asks herself as she works, "How  can I paint the equivalent of what it's like to move through space, to move through the world, to be in a room, in a park, on the street?" In 2013, Brown based a series of paintings on a photograph of a large group of nude women that appeared on the British release of a 1968 Jimi Hendrix album Electric Ladyland. The sexuality and eroticism of Brown's depictions of expressive figures and nudes are echoed in rich colours, luscious paint handling, and animated brushwork; her work combines representational and abstract elements. In her interview with Lari Pittman she  discussed how she defines 'sexy' and 'sexual' in her work. Brown said, "I suppose you could say that the sexual is in every painting, whether there is an overt subject or not. The tension within the painting, whatever the subject, is the desired outcome. The sexy would be the girl's lipstick smile or the shoe--the physical object from the three-dimensional world placed within the painting." Her tactile technique stands out among contemporaries and links her to the art movement Abstract Expressionism. However, self-conscious of her connection with artists such as Willem de Kooning and Lucian Freud , Brown often interjects fresh humor or irony by titling her paintings after famous musicals and films. She has been grouped with leading female contemporary painters, including Charline von Heyl, Jacqueline Humphries, Laura Owens, Jutta Koether, Amy Sillman, and Emily Sundblad. Cecily Brown works using a non-linear approach. Brown experiments with this approach by working with multiple canvases at one time. Working in large groups allows Brown to explore new compositional ideas while continually being spontaneous. Brown describes her process as "organic". She often spends multiple days on works, and will work on up to 20 works at a time , allowing layers of paint to dry between applications. Some of her work includes: In 1997, Brown created "Untitled", a permanent, site-specific installation for the group exhibition Vertical Paintings at P.S. 1. In the media. In the February 2000 edition of "Vanity Fair", Brown, along with fellow artists Inka Essenhigh, John Currin and others, appeared in photographs taken by Todd Eberle. A photograph that appeared in "The New Yorker" made showed Brown from the back as she stood, cigarette in hand, studying one of her paintings. Brown presided in 2004, along with other artists such as Laura Owens and Elizabeth  Peyton, over a Democratic Party fund-raising event, "Art Works for Hard Money", in Los Angeles. In 2020 Brown donated her work "Wanton Boy" to amfAR, The Foundation for AIDS Research, to help fund their temporary COVID-19 research initiative. The painting sold for $250,000 in a virtual auction conducted in July by Christie's, which also included donated works from artists such as Eddie Martinez and Dana Schutz. Critical reception. Brown has received a lot of critical attention for powerful, athletically-sized canvases and bold brushwork. The assertiveness of her paintings has often been compared to Abstract Expressionist works  which, during their time, were linked to a fierce masculinity. As a female artist working in this vein, Brown's works have been seen as confronting both this tradition and gendered assumptions about art. However, some recent critics have taken a different stance. Roberta Smith, in "The New York Times", called a Gagosian exhibition it reviewed in 2000 "lackluster" and suggested that Brown's "career is ahead of her artistic development." In a 2011 review for "The Guardian", art critic Adrian Searle rejected the dynamic and assertive surfaces of Brown's art and wrote: "What's really missing in her  art is character, and for all the hectic painting, a sense of necessity." Likewise, in 2013, Leah Ollman wrote a review of a Gagosian Gallery show for The LA Times, in which she observed: "Instead of powerful and passionate, her voice comes across as detached. The volume is turned up, but the verve is on low." Exhibitions. Solo exhibitions include: Her work has appeared at the Whitney Biennial 2004 in New York, "The Triumph of Painting" at the Saatchi Gallery, London and "Greater New York" at P.S. 1, New York. Group shows include: Collections. Her paintings are in the permanent  collections of important museums and institutions including the Solomon R. Guggenheim Museum, the Whitney Museum of American Art, the Hirshhorn Museum and Sculpture Garden, Tate Modern, Museum of Contemporary Art, Los Angeles, the Albright-Knox Art Gallery, Matan Uziel family collection, and the Des Moines Art Center. Art market. Cecily set an early auction record when her oil painting "Sick Leaves" sold for 2.2 million dollars at a Christie's auction in March 2017. Shortly after, "Suddenly Last Summer" (1999), originally estimated at $1.8 to $2.5 million, fetched $6.8 million at a 2018 Sotheby's auction in  New York.