Gallagher's DeLuxe 2005

 

 

Ellen Gallagher, DeLuxe 2005  2005, Newsprint, Plasticene  As installed for the premiere of DeLuxe at The Whitney Museum of American Art, 2005 Portfolio of sixtywith photogravure, etching, aquatint and drypoint with lithography, screenprint, embossing, tattoo machine engraving, laser cutting and chine colle;  and additions of plasticine, cut-and-pasted paper, enamel, gouache, varnish, pencil, oil, polymer, watercolor,  pomade, velvet, glitter, crystals, foil paper, gold leaf, toy eyeballs, and toy ice cubes.   Ellen Gallagher was born in Providence, Rhode Island, in 1965, and lives and works in New York and Rotterdam, Holland. She attended Oberlin College and the School of the Museum of Fine Arts, Boston. Repetition and revision are central to Gallagher’s treatment of advertisements that she appropriates from popular magazines like  Ebony ,  Our World,  and  Sepia  and uses in works like  eXelento  (2004) and  DeLuxe  (2004–05). Initially, Gallagher was drawn to the wig advertisements because of their grid-like structure. Later, she realized that it was the accompanying language that attracted her, and she began to bring these “narratives” into her paintings—making them function through the characters of the advertisements, as a kind of chart of lost worlds.   Read More    

Ellen Gallagher, DeLuxe 2005

2005, Newsprint, Plasticene

As installed for the premiere of DeLuxe at The Whitney Museum of American Art, 2005 Portfolio of sixtywith photogravure, etching, aquatint and drypoint with lithography, screenprint, embossing, tattoo machine engraving, laser cutting and chine colle;  and additions of plasticine, cut-and-pasted paper, enamel, gouache, varnish, pencil, oil, polymer, watercolor,  pomade, velvet, glitter, crystals, foil paper, gold leaf, toy eyeballs, and toy ice cubes. 

Ellen Gallagher was born in Providence, Rhode Island, in 1965, and lives and works in New York and Rotterdam, Holland. She attended Oberlin College and the School of the Museum of Fine Arts, Boston. Repetition and revision are central to Gallagher’s treatment of advertisements that she appropriates from popular magazines like EbonyOur World, and Sepia and uses in works like eXelento (2004) and DeLuxe (2004–05). Initially, Gallagher was drawn to the wig advertisements because of their grid-like structure. Later, she realized that it was the accompanying language that attracted her, and she began to bring these “narratives” into her paintings—making them function through the characters of the advertisements, as a kind of chart of lost worlds.

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M.Novotny  2017, Ebony Magazine Excerpt (newsprint and ink), Sculpey   The Tripodi Collection

M.Novotny

2017, Ebony Magazine Excerpt (newsprint and ink), Sculpey

The Tripodi Collection

 
Art Hugging: Stinson Beach, CA

Art Hugging: Stinson Beach, CA

Installation View

Installation View