Monday, December 5, 2011

Petah Coyne Final Research Statement


The focus of my research project is Petah Coyne. She is a well-known and respected sculptor whose medium and subject matter are as astonishing as the pieces themselves. Coyne was born in Oklahoma City in 1953. In 1973 she attended Kent State University in Ohio and furthered her artistic education in 1977, when she studied at the Art Academy of Cincinnati. Through the use of wax, silk flowers and taxidermy, she creates fairy-tale, “Alice in Wonderland” pieces that make the viewer think, feel, and gaze in awe.
When you look at one of Coyne’s sculptures, you can clearly see the complexity and emotion that went into it. A piece titled “Dante’s Inferno”, after the famous novel, depicts the mood of the story but not literally; black wax, deep burgundy silk flowers and stuffed geese are used to display the nightmare-like state you feel when you read it and yet the beauty of the book itself.
            Coyne’s Catholic background also comes easily into play in her work. The larger-than-life, rich and almost Victorian extravagancies of the Roman Catholic Church are evident in her style. Beauty and grace frame her pieces as the delicate intricacies weave their way through each work, they reflect the style and wealthy depth that one might see in a Catholic cathedral’s architecture. However, it is not only the visual aspects of Coyne’s work that embody a Catholic air, some of her pieces are based on the practices of the Catholic church. In one particular installation, titled “Alter Mary”, the piece is actually sitting in a church-like setting, with stained-glass windows and stone-like walls. In this piece, she pays tribute to the love of a mother and child like Mary and Jesus’.
            In my research, I have found that Coyne is a well-known artist and is respected for her brave choice of materials, subject matter, and skill. As previously stated, she studied at the Art Academy of Cincinnati when she was twenty-four. She was highly influenced by the literary works of Flannery O’Connor, a Catholic writer who often utilized larger-than-life characters and settings and was considered “southern gothic”. In 1989, she was the recipient of the “John Simon Guggenheim Foundation Fellowship” grant, a prestigious award. I’ve learned that Coyne collaborates with a chemist to create a special wax that will not melt until it hits one hundred eighty degrees. Coyne has had many solo and group exhibitions at various prestigious venues including; Mass MoCA, the Cincinnati Art Museum, Kilkenny Castle in Ireland, and Galerie Lelong in New York. Coyne was home schooled and is married. She does not focus on popular contemporary art movements such as, anatomy and politics, but on the things that are important to her and that look glorious.
            This research assignment has taught me so much about so many things. From designing a blog to learning more about Oklahoma City, I’ve learned a lot about research, Catholicism, and most of all, Petah Coyne. She is an amazing artist and a very interesting person with a crazy and chaotic childhood that has inspired the beautiful work she’s done today. I’ve never heard of her before this assignment but I’m glad I chose Coyne, she’s opened my eyes to so much and helped me explore the religion we share, I hope to return the favor one day.

Link to: Catholic.org

http://www.catholic.org/

From: Info Please-History of Sculpture

History

Ancient Sculpture

Sculpture has been a means of human expression since prehistoric times. The ancient cultures of Egypt and Mesopotamia produced an enormous number of sculptural masterworks, frequently monolithic, that had ritual significance beyond aesthetic considerations (see Egyptian artAssyrian artSumerian and Babylonian artHittite art and architecturePhoenician art). The sculptors of the ancient Americas developed superb, sophisticated techniques and styles to enhance their works, which were also symbolic in nature (see pre-Columbian art and architectureNorth American Native art). In Asia sculpture has been a highly developed art form since antiquity (see Chinese artJapanese artIndian art and architecture).
The freestanding and relief sculpture of the ancient Greeks developed from the rigidity of archaic forms. It became, during the classical and Hellenistic eras, the representation of the intellectual idealization of its principal subject, the human form. The concept was so magnificently realized by means of naturalistic handling as to become the inspiration for centuries of European art. Roman sculpture borrowed and copied wholesale from the Greek in style and techniques, but it made an important original contribution in its extensive art of portraiture, forsaking the Greek ideal by particularizing the individual (see Greek artEtruscan artRoman art).

Western Sculpture from the Middle Ages to the Seventeenth Century

In Europe the great religious architectural sculptures of the Romanesque and Gothic periods form integral parts of the church buildings, and often a single cathedral incorporates thousands of figural and narrative carvings. Outstanding among the Romanesque sculptural programs of the cathedrals and churches of Europe are those at Vézelay, Moissac, and Autun (France); Hildesheim (Germany); and Santiago de Compostela (Spain). Remarkable sculptures of the Gothic era are to be found at Chartres and Reims (France); Bamberg and Cologne (Germany). Most of this art is anonymous, but as early as the 13th cent. the individual sculptor gained prominence in Italy with Nicola and Giovanni Pisano.
The late medieval sculptors preceded a long line of famous Italian Renaissance sculptors from Della Quercia to Giovanni da Bologna. The center of the art was Florence, where the great masters found abundant public, ecclesiastical, and private patronage. The city was enriched by the masterpieces of GhibertiDonatello, the Della Robbia family, the Pollaiuolo brothers, Cellini, and Michelangelo. The northern Renaissance also produced important masters who were well known individually, such as the German Peter Vischer the elder, the Flemish Claus Sluter, and Pilon and Goujon in France.
In France a courtly and secular art flourished under royal patronage during the 16th and 17th cent. In Italy the essence of the high baroque was expressed in the dynamism, technical perfection, originality, and unparalleled brilliance of the works of the sculptor-architect Bernini. The sculpture of Puget in France was more consistently Baroque in style and theme than that of his contemporaries Girardon and theCoustous.

Modern Sculpture

The 18th cent. modified the dramatic and grandiose style of the baroque to produce the more intimate art of Clodion and Houdon, and it also saw the birth of neoclassicism in the work of Canova. This derivative style flourished well into the 19th cent. in the work of Thorvaldsen and his followers, but concurrent with the neoclassicists, and then superseding them, came a long and distinguished line of French realist sculptors from Rude to Rodin.
Rodin's innovations in expressive techniques helped many 20th-century sculptors to free their work from the extreme realism of the preceding period and also from the long domination of the Greek ideal. In the work of Aristide Maillol, that ideal predominates. The influence of other traditions, such as those of African sculpture and Aztec sculpture (in both of which a more direct expression of materials, textures, and techniques is found), has contributed to this liberation (see African art).
Among the gifted 20th-century sculptors who have explored different and highly original applications of the art are sculptors working internationally, including Pablo Picasso, Constantin Brancusi, Jacques Lipschitz, Naum Gabo, Antoine Pevsner, Ossip Zadkine, Alberto Giacometti, and Ivan Mestrović. Important contributions have also been made by the sculptors Jacob Epstein, Henry Moore, and Barbara Hepworth(English); Aristide Maillol, Charles Despiau, and Jean Arp (French); Ernst Barlach, Wilhelm Lehmbruck, and Georg Kolbe (German); Julio González (Spanish); Giacomo Manzù and Marino Marini (Italian); and Alexander Calder, William Zorach, David Smith, Richard Lippold, Eva Hesse, and Louise Nevelson (American).
An element of much modern sculpture is movement. In kinetic works the sculptures are so balanced as to move when touched by the viewer; others are driven by machine. Large moving and stationary works in metal are frequently manufactured and assembled by machinists in factories according to the sculptor's design specifications.


Read more: sculpture: History — Infoplease.com http://www.infoplease.com/ce6/ent/A0860991.html#ixzz1fizHrB84

Link to: City of Oklahoma City

http://www.okc.gov/

From: Taxidermy.net

What is Taxidermy?
Taxidermy is a general term describingthe many methods of reproducing a life-like three-dimensional representationof an animal for permanent display. In some cases, the actual skin (includingthe fur, feathers or scales) of the specimen is preserved and mounted overan artificial armature. In other cases, the specimen is reproduced completelywith man-made materials.
The word "taxidermy" isderived from two ancient Greek words; taxis, meaning movement; andderma, meaning skin. Therefore, loosely translated, taxidermy meansthe movement of skin. This is a fairly appropriate definition as many taxidermyprocedures involve removing the natural skin from the specimen, replacingthis skin over an artificial body, and adjusting the skin until it appearslifelike.
One-half of a mounted deer head to show what's underneath.Themodern practice of taxidermy incorporates many crafts, such as carpentry,woodworking, tanning, molding and casting; but it also requires artistictalent, including the art of sculpture, painting and drawing. In a moderndeer head mount, for example, the only natural parts of the animal usedare the antlers and the skin. All of the other organs and tissues are recreatedwith man-made materials. The eyes are made from glass, the eyelids aresculpted from clay, the soft tissues of the nose and mouth are sculptedfrom epoxy or wax, and the mannikin or "form" (which incorporatesthe anatomy of each muscle and vein) is made from polyurethane foam.
Sailfish re-creation from man-made materials.Today,some taxidermy mounts (most notably saltwater fish) do not contain anyparts of the animal at all. They are completely re-created from man-madematerials. This is ideal for catch-and-release anglers, who can releasetheir gamefish unharmed, and can still have a life-sized trophy producedfrom a good color photo and measurements.
Works of taxidermy are displayedin museums, educational institutions, businesses, restaurants, and homes.There are many different methods for producing mounts (or re-creations)of different species. 

From: Werner Studio- Redefined Petah Coyne

Friday, January 23, 2009

From: Leslie Scalapino- About the Artist, Petah Coyne

ABOUT THE ARTIST, PETAH COYNE


In Untitled #1336 (Scalapino Nu Shu), 2009-2010, an apple tree covered in black sand is populated with taxidermy pheasants and peacocks. Peacocks were important to Flannery O’Connor, who wrote about and raised them, and saw them as symbols of renewal and the “eyes” of the Catholic Church. The peacocks in Coyne’s tree are brilliant, but rather than preening they seem strangely frozen in time, anticipating. This sense of waiting is embodied in Nu Shu, a centuries-old Chinese writing technique solely for women and used to secretly express loneliness and fear. Knowing this back story gives Coyne’s peacocks something to anticipate—a story told in secret writing to an intimate friend. The title of the work references Coyne’s own friendship with the poet Leslie Scalapino.
Denise Markonish, curator, MASS MoCA, North Adams, MA
Petah Coyne
Untitled # 1336 (Scalapino Nu Shu), 2009–2010
Apple tree, taxidermy Black Melinistic Pheasants, taxidermy Blue India Peacocks, taxidermy Black-Shouldered Peacocks, taxidermy Spaulding Peacocks, black sand from pig iron casting, Acrylex 234, black paint, cement, chicken wire fencing, wood, gravel, sisal, staging rope, cotton rope, insulated foam sealant, pipe, epoxy, threaded rod, wire, screws, jaw-to-jaw swivels
158 x 264 x 288 inches (401.3 x 670.6 x 731.5 cm)
Collection: Kemper Museum of Contemporary Art, Kansas City, Missouri
© Petah Coyne
Courtesy Galerie Lelong, New York
Photo © Elisabeth Bernstein
Scalapino Nu Shu

From: Berkshire Fine Arts- Petah Coyne at MASS MoCA

Petah Coyne at Mass MoCA

Exhibition Opens May 29

By: Ariel Petrova - 05/04/2010

A new work by Petah Coyne will be on view at Mass MoCA opening on May 29.
A new work by Petah Coyne will be on view at Mass MoCA opening on May 29.
Viewers will be transported when entering the MASS MoCA galleries this summer.  Petah Coyne's baroque works, delicately combining tinted, waxed flowers and taxidermy, will rise up from the floor, and hanging sculptures will descend from the ceiling, taking full advantage of the multiple vantage points of MASS MoCA's vast gallery spaces. The exhibition titled Everything That Rises Must Converge (after a short story by Flannery O'Connor) will open on Saturday, May 29, with an opening reception from 5-7 PM. 

A selection of Coyne's work from the past two decades, along with two new works, will be on view at MASS MoCA. As a sculptor, Coyne has been an important presence in the international contemporary art scene since the 1980s. At a time when conceptualism in art reigned supreme, Coyne was never afraid to bring an overabundance of beauty alongside meaning in her work. MASS MoCA is proud to present her largest retrospective of works to date including her two most recent sculptures, showcasing for a wide audience the impact of Coyne's diverse works. 

The works in this exhibition begin with Coyne's sculptures from the late 1980s, when the artist shifted from organic materials (straw, mud and fish) to metal and black sand (a by-product of pig iron casting). Works like Whirlwind (1989) seem to spin in front of the viewer, referencing flowing forms despite their material heaviness. In addition to these mid-career works, selections from Coyne's latest series based on Dante's Inferno will be on view.  Central to this series is Untitled #1180 (Beatrice) which transforms Dante's love into a monumental sculpture of silk flowers dipped in black wax, subtly colored, as well as velvet and taxidermy birds diving in and out of the towering form. 

Much of Coyne's work references literature, including Sawako Ariyoshi's The Doctor's Wifeand Yasunari Kawabata's House of the Sleeping Beauties, and films like Michelangelo Antonioni's La Notte and Luchino Visconti's Death in Venice. The writings of Flannery O'Connor are a continual influence on Coyne's recent work, both for their Catholic symbolism and beautiful darkness. This is particularly evident in Coyne's two new works for the exhibition. Untitled #1176 (Elisabeth-Elizabeth) is made of exotic Chinese and South American pheasants, silk flowers and black wax and will hang high in the gallery. Coyne's other new work, the centerpiece of the exhibition, is Untitled #1336 (Scalapino Nu Shu), a 14-foot tall craggy apple tree, covered in black sand and seventeen hanging pheasants. Perched above the pheasants at the top of the tree are ten peacocks waiting to take flight.

The peacock is rich in references, both for the artist and throughout history. Peacocks are a Christian symbol of immortality, renewal and transformation, and are known as the "eyes" of the Catholic Church. Prized for their beauty, they were a bird that O'Connor loyally raised, lived with, and wrote about. The title of the work also references nu shu which is a centuries-old secret writing taught to pairs of young Chinese women so that they could communicate over their lifetimes, often across great differences. The added reference to Leslie Scalapino, a poet and friend of the artist, speaks of a similarly special bond between two women. 

An entire section of the exhibition will be dedicated to Coyne's seldom exhibited photography - enchanting explorations of movement and tone. Upon first glance they seem to be black and white but just as the colors of flowers emerge from the black wax works, here subtle shades poke through these blurred figures of children, Buddhist monks, and brides. Unlike many contemporary artists who focus on social or media-related issues, Petah Coyne imbues her work with a magical quality to evoke intensely personal associations. Her sculptures convey an inherent tension between vulnerability and aggression, innocence and seduction, beauty and decadence, and, ultimately, life and death. Coyne's work seems Victorian in its combination of an overloaded refinement with a distinctly decadent and morbid undercurrent. Her innovative use of materials includes dead fish, mud, sticks, black sand, shredded car parts, wax, satin ribbons, artificial flowers and birds, birdcages, taxidermy animals, Madonna statues, and horsehair.

Petah Coyne was born in Oklahoma City in 1953. She lives and works in New York and New Jersey . Recent solo exhibitions include Vermilion Fog at Galerie Lelong, NY; Petah Coyne: Above and Beneath the Skin organized by Albright-Knox Art Gallery, Buffalo, NY, traveling to Sculpture Center, Long Island City, NY, Chicago Cultural Center, Chicago, IL, Kemper Museum of Contemporary Art, Kansas City, MO, and Scottsdale Museum of Contemporary Art, Scottsdale, AZ; and Petah Coyne: Hairworks at Cincinnati Art Museum, Cincinnati, OH. Selected group exhibitions include Damaged Romanticism: A Mirror of Modern Emotionorganized by the Blaffer Gallery, University of Houston, Houston, TX, traveling to Grey Art Gallery, New York University, NY, and the Parrish Art Museum, Southampton, NY;Uncontained, Whitney Museum of American Art, New York, NY; and Material Actions, Museum of Contemporary Art, San Diego, CA. Coyne's work is in the collections of the Brooklyn Museum, Brooklyn, NY; Corcoran Gallery of Art, Washington, DC; National Gallery of Art, Washington, D.C.; Metropolitan Museum of Art, NY; Museum of Fine Arts, Boston, MA; Museum of Modern Art, NY; Philadelphia Museum of Art, Philadelphia, PA; Solomon R. Guggenheim Museum, NY; The Whitney Museum of American Art, NY, and many more. She is represented by Galerie Lelong , NY .

The exhibition will be accompanied by a catalog co-published by MASS MoCA and the Yale University Press. This unique book will feature color illustrations of the works in the exhibition as well as texts by exhibition curator Denise Markonish , an interview between the artist and cultural critic Rebecca Solnit, and a new piece of fiction by author A.M. Homes that places Coyne's work in the context of MASS MoCA's hometown, North Adams , Mass. The 128-page catalog will be available July 2, 2010. 

From: The MASS MoCA Blog

What’s on your soundtrack?
Our Education department installed a cork board in the lobby featuring changing questions about the galleries, exhibitions, etc. Our Education intern Kate wrote the following blog about the first question on the board and the answers we got.
Petah Coyne’s exhibition Everything that Rises Must Converge has attracted viewers across all audiences. How can we tell? A question board in MASS MoCA’s lobby recently displayed patron’s selections for a hypothetical soundtrack accompaniment.
pile-5
In many ways, all of us have personal soundtracks to our lives. With the innovation of MP3 players, particularly the iPod, it’s quite common to see someone out for a stroll casually bopping to their favorite tunes – whatever they may be. Curiously, the vast display of Petah Coyne’s artwork has evoked an equally vast musical response.
What’s interesting about these song selections is that in many ways they delineate the unique ways artwork has potential to move disparate audiences. Responses on the board eclipsed age differences and genres, spanning from Bach’s eighteenth century piano concertos, English rock hits such as Blackbird from the Beatles’ two-disc White Album, to contemporary singles by bands like The Postal Service, Smashing Pumpkins, and the artist Lady Gaga.
Though it may be hard to imagine a soundtrack juxtaposing songs such as Big River by Johnny Cash with Maurice Ravel’s solo piano rendition of Gaspard de la Nuit, below are my personal favorite responses for the Petah Coyne soundtrack:
The Everything that Rises Must Converge soundtrack is only the first question on the feedback board for the summer. Stay tuned for future questions in the MASS MoCA lobby.
Posted July 12, 2010 by Brittany Bishop
Filed under ExhibitionsInternsPetah Coyne
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What do you think?
globe_review
Sebastian Smee from The Globe made our week with nice reviews of both Material World and the Petah Coyne exhibitions,   saying, “MASS MoCA, the most consistently stimulating museum devoted to contemporary art in New England, has space to burn, making it the ideal place to show this kind of work. Material World: Sculpture to Environment, a group show devoted to large-scale, environment-altering installations made from cheap and plentiful materials, sees the museum playing to its strengths.”
And about Petah Coyne: Everything that Rises Must Converge, he said, “I admired the fearlessness of her aesthetic, which is the absolute antithesis of minimalist cool.”