Submission No. 16

a painting by Libby Black, hung on a mirror at Marx & Zavattero's room at ArtPad at the Phoenix Hotel, San Francisco, 2012

A painting by Libby Black, title unknown (2012), hung on a mirror and shot with Dym’s iphone. San Francisco gallery Marx & Zavattero showed this painting at the 2012 ArtPad in the Phoenix Hotel.

A note from Miriam:

This painting was hung on a mirror during an artfair (ArtPad, held at the Phoenix Hotel in San Francisco). When I took a picture of it using my antique iPhone I included a bit of myself and a reflection of the walls behind me. I could have cropped the image, as I did for the version on the front page of the blog. This painting reminded me of work by New York painter Alexi Worth.

Tom’s Riff:

There is so much going on here. The cartoon penis, with its cute little iconic balls and shaft. The orange-and-green-and-brown-and-white print dress you are wearing. The blueish left thigh of the figure in the painting.  The mechanical arm. The mask with eyeholes. The crab-like body. The reflection in the glass to the left. The yellow sunset and black, silhouetted trees in the painting behind…

But what I can say is very brief: people holding people holding people.

This is an image of inclusion.

We look out at one another with terrified eyes.

Love me. Love me. Love me. And I will try to love you. Love you. Love you.

Alexi Worth, Tear Sheet, 2008Alexi Worth, Formalists, 2008

As for Alexi Worth’s: pull away at paper, unwrap me, love me, love me, love me. It is the same. Terrified eyes. Formal brilliance. An homage to Braque and the cubists.

But the crucial element is the finger, with its symmetrical nail, pulling, pulling, towards the viewer. That’s what is being asked.

These two image demand us to play close attention. They desire so much. They express staggering loss.

About Tom Clyde

The best place to learn about me is to read my riffs. What could be more revealing? Cheeky, maybe, but true enough.

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