Written by: Renny McFadin Molly Zuckerman-Hartung, born in 1975, is relatively hot in the world of current abstract art. A Yale graduate whose “paintings do not have value because they are in the museum. They have value because they are in dialogue with and a continuation of other paintings.” She works primarily in the abstract painting sphere, but many of her works can be considered highly sculptural as well. She self identifies as a painter, and no, nobody told her to do this. Her paintings incorporate collage, found objects, cutting, weaving, and scraping. In her 95 Theses on Painting, Zuckerman-Hartung creates paintings that show her way of “deciphering the codes of visual information and experience that structure capitalism in our time.” One of her friends, Danielle Gustafson-Sundell, describes her art as “generous and witty, sharp as fuck, critical and messy. and, and, and... (and this, and what if this, and also, and another thing...) these are talkative paintings (and i think contrarily gorgeous) and, like the best of conversations, they keep me thinking long after the afternoon ends.” And this is a fantastic description of Zuckerman-Hartung’s works. They are critical. Contrarily, they are messy. It’s a smooth combination of these characteristics that makes Zuckerman-Hartung’s painting so charismatic. And with exhibition titles like, Fuck Nice, Negative Joy, and QUEEN, what would you expect? With these incredible forms of assemblage, Zuckerman-Hartung truly creates a funky, trippy world with which we can all submerge ourselves in. It’s unique. It’s new. It’s “sharp as fuck”. It’s … current.
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AuthorsNATALIE KIM is a junior at MLWGS and is committed to informing others of history being made in the art world. Archives
April 2019
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