Many – if not all – artists eventually acquire origin stories, formative experiences to which all their subsequent artistic achievements can plausibly be traced. Tony Smith had his night-time drive on the unfinished New Jersey Turnpike; Louise Bourgeois had her father’s affair; Andy Warhol had his time drawing ads for shoes. Such stories become more meaningful as they recede in time, ossifying with use and reuse.
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Kathryn Andrews, “Hobo (The Candidates),” 2014. Ink on paper and plexiglas, aluminum, paint, mixed media. 43 3⁄4″ x 37″ x 2 1⁄4″. Photo: Fredrik Nilsen Courtesy: the artist and David Kordansky Gallery, Los Angeles, CA
In Fall 2014, “Donald Trump For President” was less than a whisper on the wind. When, around that time, the Museum of Contemporary Art, Chicago, invited Kathryn Andrews to mount an exhibition for November of the following year, she hit upon the idea of using the US presidential election as a thematic narrative to structure a mini-survey of her sculptures, wall works and installations from the past five years. Clowns were to feature prominently. Read the rest of this entry »
Jonathan Griffin 