Cecily Brown. 'Selfie,' 2020. Oil on linen, 43 × 47 in. The Swartz Family Collection. © Cecily Brown.
Can a painting be its own opposite? The works in Cecily Brown’s mid-career survey Death and the Maid are both abstract and figurative, canonically referential and hedonistically maximal, their carnivalesque palettes slashed with monotone grays. They are, at once, both surface and core.
The show greets you with a large canvas titled Selfie (2020), which depicts a studio full of other paintings, clocks, open windows, ladders—a composition of mise en abymes of increasingly smaller and unknowable images, in front of which . . .
RESTRICTED CONTENT
Tbis content is restricted to paid subscribers with digital access only.
Non-subscribers may purchase a PDF of this article by clicking the "Purchase PDF" button, above.
Current subscribers with digital access: Login here to access content.
Institutional users, find out how your institution or organization can sign up for access to LIBER's content.
Not a subscriber? Subscribe now to instantly unlock all of LIBER's online content and downloadable PDFs!
