Paintings have behaved oddly this year.
At MoMA, Jutta Koether’s became props for interactive events and then morphed into sculptures; at Friedrich Petzel, pieces made jointly by Stephen Prina and Wade Guyton disappeared after only one day; and at Carriage Trade, a series of monochromes were attributed to a nonexistent artist, their origin never quite explained. And then there is the case of Sarah Crowner’s beautiful and peculiar new show at Nicelle Beauchene Gallery, on the Lower East Side.
“I like the idea that a painting can have other functions, depending on how the viewer interacts with it,” Sarah Crowner told The Observer, as she stood in her studio in the Gowanus section of Brooklyn. “A painting,” she said, “could be an environment for a performance.” She spoke quickly and seriously, as if she had thought this out and was enthusiastic about the possibilities of her choices. Read More