In these works, not originally intended for public view, the Spanish artist offers haunting visions of humanitys darker side.Īmong the paintings on view in the present exhibition, one refers directly to a work by Goya.
Painted memory series#
Often taking a combination of mass media imagery and his own recollections of a motif as his starting point, Ming thus broadens a traditional understanding of the medium of painting: he refers to his large-scale canvases as collages of photographs and memories, while medium-specificity is further cast into question by the fluidity of the artists painterly technique, which at times resembles watercolor.īlack Paintings is a title derived from a late series of wall paintings by Francisco Goya, since transferred to canvas. In a departure from previous work by the artist, they extend beyond the depiction of a singular subject to reference broad historical issues and, in the process, the gap that exists between the events and their visualization. The paintings in this exhibition, Mings second at the gallery, relate to events in the recent and distant past. The artists fluid yet precise technique and his use of shallow pictorial space combine to create iconic, monumental, and psychologically charged works.
Painted memory serial#
His subjects, which range from historical figures, political leaders, and celebrities to anonymous soldiers, serial killers, female prisoners, orphans, and the artist himself, are typically presented face-on, with bold and expressive brushwork. Born in Shanghai in 1960 and based in Dijon, France, Ming has gained international recognition for his large-sized, monochromatic portraits. Its melodies are immediate, its emotions subtle, its impact lasting - and, with that timeless sound, Painted from Memory illustrates that craft cannot only be its own reward, it can be genuinely moving.NEW YORK, NY.- David Zwirner presents an exhibition of recent work by Yan Pei-Ming, on view at the gallerys 519 West 19th Street space. With its lush arrangements, sighing brass and strings, gentle pianos, and backing vocals, it's clearly a classicist album, yet it sounds utterly timeless.
Costello keeps Bacharach from his schmaltzier tendencies, and Bacharach keeps Costello from overwriting. Often, the music not only evokes the spirit of Dionne Warwick, it's reminiscent of Elvis' torching ballads for Trust. It's a testament to both that even if the album is clearly in Bacharach's territory, it feels like a genuine collaboration. Bacharach hasn't written such graceful, powerful melodies since his glory days, and Costello hasn't crafted such a fully realized album since King of America. Instead, it's a return to form for both artists. Wisely, they chose to work within the stylistic parameters of Bacharach's '60s material, but Painted from Memory never sounds like a stylistic exercise.
Painted memory full#
It was a stunning song in the tradition of Bacharach's classic '60s work and it was successful enough that the composers decided to collaborate on a full album, Painted from Memory. Elvis Costello and Burt Bacharach first collaborated on "God Give Me Strength," a sweeping ballad that functioned as the centerpiece in Allison Anders' Grace of My Heart.
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