Laura Owens - 12 Paintings at 356 S. Mission Road - The Artist's Studio - MOCAtv

Laura Owens – 12 Paintings at 356 S. Mission Road – The Artist's Studio – MOCAtv

I had this idea of using a site as a studio and then turning that into an exhibition space and it started out where I was looking for pretty unique architecture like theaters and churches and like stuff that had like specific connotation war in the middle of town there's like near Melrose and and then I just kept moving east I live in Echo Park but like I kept moving east and looking here in Boyle Heights it was first of all just like amazing buildings that are not being used or large and empty and it was a whole other feeling but uh I wasn't initially looking for but it allowed me to reminded me of like something I've done a lot which is like collaborate with a lot of people doing curating shows and inviting people to do exhibitions with me or make paintings with me and and so it like it just opened up the possibility of this being more than just Oh time event where we're at right now I feel we're at right now is like this kind of age when people are making exhibitions they're not the the individual painting if if someone does a show where it's just this was made in the studio this was me in the studio this is Nancy it feels a bit conservative or like a little bit backward feeling at least right now totally can change just talking like in the last second six ten years or something so what I felt is like well what becomes too easy in a way for painting because painting can easily become too easy or too hard is that the if the painting is just this symbolic gesture of itself being a painting in an exhibition there's no pressure what's actually happening inside of there so I want it to simultaneously do an exhibition and make the painting and so each painting is a discrete work but also like try to make an exhibition it's really kind of so basic you wouldn't even think about it but I've been thinking about it for so long this is sort of like the latest iteration of this idea of trying to work on what I'm talking about is when you're meant to just have an experience standing in front of it and looking at it and whether you go into pictorial space or it's it's aggressively coming out at you in the room in some provocative or aggressive way which I'm actually really interested in the its it's acting in a way that has like a phenomenological experience that's meant to be stood in front of an looked at the more recent use of painting by many many people it's it's it's trying to use painting as a vessel in which to put ideas which I'm totally interested in it's just not what I'm trying to do what I'm thinking about when I'm trying to make these is that they use all the things that paintings can do and and just do with it and so if I'm going to make a painting I'm going to think about these things that painting does and I'm going to try to exhaust them and slam new things into the space is huge and I think it would be like super perverse and like kind of not interesting at table clever and weird to like Oh tiny paintings in a big space I mean I think it's just sort of like you have to kind of rise the occasion of this why did you pick this giant space well I want to make a giant painting something painting does it it can relate to your actual physical body and as a child I went to like the Toledo Art Museum and my Cleveland Art Museum and I remember just walking in from very far and granted I was that small but um and walking up to the Morris Lewis painting and my that actual experience of feeling of like the painting getting bigger and bigger me feeling smaller and smaller and that that was something interesting that painting did do don't I mean it could do it has a potential to do so um also like the kind of basic ideas that are in Impressionism from far away you see a picture from up to close you see brushstrokes I'm always kind of interested in the back something painting can do not only is a different experience up close which is like a metaphor for many things in life like but also you get to do things like literally when you have a big service you get to literally make something small it's not just a picture of something small I mean whereas when you have a sort of standard easel type painting size you're if you're trying to do scale shifts within that smaller frame it's not there's not a kind of easy access to that kind of literalism which I I find actually is kind of in line with the sort of punning and would I call it kind of a humor and lightness that I'm interested in painting when I'm actually making decisions there is a sort of when you're in that moment of painting you yeah it's an intense focus but you're also letting go in the moment with the pain you just have to have this faith that it kind of leads to what where you're supposed to be in really interesting stuff do you mean in that oh that's like a certain like risk-taking I think people really avoid when making exhibitions an art a lot of time so they really want to be sure they're doing good art you know what I mean in like Martin Kippenberger and people in the past it Rabia everyone loved it this history tells us that is not the way to make art John I mean is not you're not trying to make good art you

27 thoughts on “Laura Owens – 12 Paintings at 356 S. Mission Road – The Artist's Studio – MOCAtv”

  1. I’m not sure I understand her motivation for painting. Like when she says she’s looking for a space and does giant paintings to match the space it’s going to be in? Is that like buying a painting to match the size of the wall behind your couch? Maybe, she’s over-explaining the whole idea of the spaces and the paintings? I would prefer to hear about her thought process on why she paints a particular painting—and her use of color and form.

  2. Finally gave up in Boyle Heights thanks to community action! Bye Laura Owens and Gavin Brown. The people have won, don't come back

  3. It is funny there are so many real artists, and people follow a moron like this who paints like a first grade elementary child,, complete garbage

  4. Just keep talking and talking, buzzword, namedrop, talk talk talk. I’m guessing this is learned in art school?

  5. I only know about Laura because I saw one of her works sold for 1.8 million last night, it's the same day I saw Mr Brainwash throwing paint over a Mercedes Benz, which at the time I deemed idiotic. But hearing Laura speak in such a clinical, "design director" manner, sends chills up my spine. Even the way in which she states art shouldn't be made sounds so formulaic, rigid, contrived…..sadly this makes me warm to Mr Brainwash hurling paint over a German family mover. She talks about emotion as if it's a tick box on a check list.

  6. I watched her over at the Picabia – MoMA talk and thought "maybe she was having a bad day and she's not actually so dull" then I came here… turns out she's even more dull than I originally thought. Please smile for once in your life. Who are you trying to be Liam Gallagher?

  7. Would love to see this in person. Lots of really great observations about painting. Much more interesting than just a blanket explanation of the exhibition!

  8. They are fun and whimsical.  Like the parts that look paintings that have been cut out in placed on the canvas but have Photoshop drop shadows.  Most are paintings that are put together as collage.  80's are back.

  9. If she were to paint this stuff on a 24×24 piece of wood it would look terrible. Even it being big it looks terrible. Real artist can work with any size and scale….she got bored and decided to be an artist. When artists like this over explain their work it means that its crap. If you have to explains your work until someone starts to not think for themselves you aren't truly making art. When viewing a painting its not supposed to tell you what to do you tell it.

  10. You could make paintings as tall as skyscrapers but if it has no effort or message then sorry you aren't a real artist. This looks like kitschy shit. I'm 10x better than her and I'm 17 years old. If you want to check out my stuff…

  11. i thought she was trashing picabia at the end – "whaaaa…?"
    then i replayed it and she was saying they took risks and didnt settle for a bourgeois standard of "good" painting

  12. I love seeing her new work…a nice movement away from her dried paint spot-remnants from years ago…but still utilizing layers and playfulness. Any smart(sharp) painter is beginning to blend digital with traditional as a viable idea making tool, but still remain painterly. Not many can do this…Laura odes. Her new works still embodies the veracity and fire of a new painter on the scene. When you have to paint your ass off to show the world "you mean business." Beautiful work.

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