JENNY SAVILLE
Showing posts with label Jenny Saville. Show all posts
Showing posts with label Jenny Saville. Show all posts
Wednesday, June 5, 2024
Tuesday, June 1, 2021
Jenny Saville / 'I used to be anti-beauty'
| Jenny Saville |
Interview
Jenny Saville: 'I used to be anti-beauty'
Saville made her name with giant paintings of fleshy, flawed bodies. She talks about being bankrolled by Charles Saatchi, how having children is changing her art – and the joy of late-night vacuuming
Emine Saner
Monday 25 April 2016
I
t’s funny to think of Jenny Saville in her studio at 1am, music blaring, with vacuum cleaner in hand as she approaches one of her canvases and starts sucking great lines through her work. That it should be a Henry vacuum, the shamelessly anthropomorphised device, makes it even better: as he approaches Saville’s giant works, ready to wreak destruction, his expression will be one of eternal cheerfulness.
Friday, May 28, 2021
Tacita Dean and Jenny Saville lead strong female presence at Edinburgh art festival
Tacita Dean and Jenny Saville lead strong female presence at Edinburgh art festival
Phyllida Barlow, Lucy Skaer and Victoria Crowe also feature in the lineup alongside old masters including Canaletto and Rembrandt
Dale Berning Sawa
Mon 26 Mar 2018 00.01 BST
The Edinburgh art festival has announced its 2018 programme. The annual event, which this year takes place between 26 July and 26 August alongside the international festival and the fringe, will mark its 15th anniversary with 36 exhibitions at venues across the city.
Friday, October 4, 2019
Interview with Jenny Saville
Jenny Saville. Photo: Elena Cué
Interview with
Jenny Saville
Entrevista con Jenny Saville
Written by Elena Cué
Published: 06 June 2016
British artist Jenny Saville (1970), one of the Young British Artists, deconstructs the stereotypes of beauty and eroticism of the female body as seen through art and through men, and then broadens them. She experiments with obese women and changes in the body, but above all she uses her own body as a model and means of reflection. She reveals the natural beauty of the individuality of the women she paints, and her own. Through the body, she expresses states of sensibility that bind us to our existence: uneasy, anguished, painful fleshiness… This defines her artistic language as much as her traditional pictorial technique. Figures are the sole focus of attention of her huge canvasses, which often cannot contain the whole figure in the same way that our selves cannot control our bodies. Her painting and her skill at drawing spawn a multiplicity of realities that build movement.
We begin our conversation in London surrounded by her latest drawings.
Jenny Saville Becomes Most Expensive Living Female Artist at £67.3 Million Sotheby’s Sale
Courtesy of Sotheby’s.
Jenny Saville Becomes Most Expensive Living Female Artist at £67.3 Million Sotheby’s Sale
NATE FREEMAN
5 October, 2018
Jenny Saville is now the most expensive living female artist
Propped, 1992
Jenny Saville
Jenny Saville is now the most expensive living female artist
Last week, Jenny Saville’s “Propped” was sold for a grand £9.5 million, making her the most expensive female living artist.
The auction, which took place at the Contemporary Art Evening Auction in Sotheby’s New Bond Street gallery, saw a vigorous bidding war for Saville’s oil painting of a nude woman. The bidding came down to an intense and prolonged battle between five determined participants, with the estimated £4 million for the artwork more than doubled. The piece went to an unnamed bidder on the phone, and made the Oxford-based artist’s work the highest paid piece at auction by a living woman artist.
The record for the highest paid living male artist at auction is Jeff Koons’ “Balloon Dog” orange sculpture, which went for £36.8 million in 2013.
Saville’s art has been described as “one of the undisputed masterpieces of the Young British Artists” by Europe’s head of Contemporary Art, Alex Branczik, among other YBA contemporaries like Tracey Emin and Damien Hirst.
“Propped” is an oil on canvas self-portrait of the artist in the nude, depicted as a foggy reflection of herself in the mirror and clasping onto her thighs with her hands, questioning the societal notions of conventional beauty and size. The painting includes French words said by the feminist Luce Irigaray, written all over the canvas.
The large bid for Saville’s work set the tone for the rest of the night, with the total auction bids hitting £67.3 million, more than the £53.2 estimate.
Art adviser Nazy Vassegh told Artsy: “Female artists are being given greater exposure across the board: in museums, gallery shows, art fairs and auction houses. It’s definitely an important moment–and about time.”
DE OTROS MUNDOS
Jenny Saville / Territories
Jenny Saville / Pesadillas
Jenny Saville / La estética de la obesidad
Jenny Saville / El paisaje del cuerpo
Jenny Saville / Debajo de la piel
Jenny Saville / La artista viva más cara de la historia
Jenny Saville / La verdadera víctima de la provocación de Banksy
Entrevista con Jenny Saville
Jenny Saville / La pintora de la carne
Jenny Saville / Pesadillas
Jenny Saville / La estética de la obesidad
Jenny Saville / El paisaje del cuerpo
Jenny Saville / Debajo de la piel
Jenny Saville / La artista viva más cara de la historia
Jenny Saville / La verdadera víctima de la provocación de Banksy
Entrevista con Jenny Saville
Jenny Saville / La pintora de la carne
DRAGON
Saturday, May 25, 2019
Periel Aschenbrand / If Jenny Saville and Lucien Freud had a Cannibal Baby (or a Love Child)
If Jenny Saville and Lucien Freud had a Cannibal Baby (or a Love Child)
By PERIEL ASCHENBRAND
I was introduced to Brooke by a mutual friend, who just happens to be an editor at Vogue. She said I had to meet her. I am constantly being told that I have to meet someone or other and being that I am mildly anti-social, I usually just nod and offer some bullshit variation of “I’d love to,” and pray no one will remember.
However, when the introducing party is an editor at Vogue, one generally pays attention.
So I went to meet Brooke, for pizza.
Monday, March 20, 2017
Jenny Saville / Territories
Jenny Saville
Territories
Gagosian Gallery, 1999
DE OTROS MUNDOS
Jenny Saville / Territories
Jenny Saville / Pesadillas
Jenny Saville / La estética de la obesidad
Jenny Saville / El paisaje del cuerpo
Jenny Saville / Debajo de la piel
Jenny Saville / La artista viva más cara de la historia
Jenny Saville / La verdadera víctima de la provocación de Banksy
Entrevista con Jenny Saville
Jenny Saville / La pintora de la carne
Jenny Saville / Pesadillas
Jenny Saville / La estética de la obesidad
Jenny Saville / El paisaje del cuerpo
Jenny Saville / Debajo de la piel
Jenny Saville / La artista viva más cara de la historia
Jenny Saville / La verdadera víctima de la provocación de Banksy
Entrevista con Jenny Saville
Jenny Saville / La pintora de la carne
DRAGON
Saturday, October 22, 2016
Jenny Saville / 'I used to be anti-beauty'
| Still (2003) Jenny Saville The Metropolitan Museum of Art, New York, 2012 Photo by Triunfo Arciniegas |
Jenny Saville: 'I used to be anti-beauty'
Emine Saner
Monday 25 April 2016 09.00 BST
I
t’s funny to think of Jenny Saville in her studio at 1am, music blaring, with vacuum cleaner in hand as she approaches one of her canvases and starts sucking great lines through her work. That it should be a Henry vacuum, the shamelessly anthropomorphised device, makes it even better: as he approaches Saville’s giant works, ready to wreak destruction, his expression will be one of eternal cheerfulness.
“I’m getting more sophisticated with working out how many suction techniques I can find,” says Saville with a laugh, as we stand in front of Ebb and Flow. This great tangle of bodies is part of her new show at the Gagosian Gallery in London.
| Still (2003) Jenny Saville The Metropolitan Museum of Art, New York, 2012 Photo by Triunfo Arciniegas |
Saville is known as a painter, but this exhibition is of her drawings. It is a “massive” freedom, she says, to work in charcoal and pastel rather than oil paint. “Just because of the transparency of drawing, you’ve got the possibility of multiple bodies. It’s an attempt to make multiple realities exist together rather than one sealed image.” It means she can change direction quickly. “In two hours, you can put a leg in here, go right through a body, go right through genitals, one gender changes to another.”
Jenny Saville's first UK solo show opens – but mind the wet paint
| Jenny Saville´s Reverse 2002-2003 |
Jenny Saville's first UK solo show opens – but mind the wet paint
Oxford exhibition includes the mountainous fleshy nudes she became known for in the 1990s, as well as days-old new work
Friday 22 June 2012 20.13 BST
It will astonish many people that Jenny Saville is opening her first solo show in a British public gallery, but the artist does not feeling upset or wronged.
"I don't have a complaint about not being fashionable, I don't feel I've been ignored. It's out of choice that I haven't shown in the UK," she said as she put the final touches to an exhibition at Modern Art Oxford.
Jenny Saville / 'I want to be a painter of modern life, and modern bodies'
Jenny Saville: 'I want to be a painter of modern life, and modern bodies'
Rachel Cooke
Saturday 9 June 2012 21.46 BST
I
have a low-level dread of artists' studios, which tend to be full to overflowing with the (to me) highly distressing detritus of creativity: encrusted paint; cruelly abandoned canvases; ghostly dustsheets. But I find that I can just about cope with Jenny Saville's work space, which is in a shabby office building in Oxford, owned by Pembroke College.
For one thing, its scale works against claustrophobia; though she has had to remove ceiling tiles in a few places, the better to accommodate the taller of her paintings, it is nevertheless as big as a small supermarket. For another, it is divided, albeit haphazardly, into zones – broken-backed art books here, shrunken tubes of paint there – with a few feet of clear floor between. As we settle down with our mugs of Earl Grey tea, the spring rain fizzing against the windows, the feeling is almost – if not quite – cosy.
Friday, October 21, 2016
Does Jenny Saville fix it for you?
Does Jenny Saville fix it for you?
For once, I'm not offering an opinion, because I can't decide. Is feminist activist and YBA Jenny Saville the real deal or not?
Thursday 29 September 2011 17.20 BST
Jenny Saville – good painter or bad painter? You tell me, because I'm not sure.
I used to be fairly sure she was a mediocre pseudo-expressionist whose rise to fame was down to the support of Charles Saatchi and a loud appeal to feminist cultural theory. In reality, I felt her paintings were too easy and glib in their mottled flesh, and just not serious enough about the challenge of depicting the human body with blobs of pigment on canvas. Lucian Freud's granddaughter she was not.
Saville is still a feminist: for the next couple of days you can see a work by her at the Gagosian Gallery in King's Cross, alongside pieces by a wide range of artists that go on sale in a charity auction this week on behalf of Women for Women International; she also co-organised the event. WfWI supports women in conflict zones around the world, and a gallery of great and good artists including Tracey Emin and Chuck Close have joined Saville to offer works to its cause.
So she is an activist, and her politics are real. She is also, by this time, plainly a serious painter, in the sense that she still keeps doing what she does – she also has a solo exhibition in New York at the moment – and succeeds in making it bite, somehow, into the culture. A row over a work by her on the cover of a rock album in 2009 typified the way she makes painting a force on the contemporary scene, able to shock and trouble a world far beyond art galleries. In this, she may not be so unlike Freud after all.
On the other hand, do her paintings possess enough real joy in the art of painting to make them live, in the long term, as art? Is she a powerful painter of visceral subjects or a pastiche of such a painter?
For once, I am not offering an opinion. I'm asking you. Is Saville the real deal or not?
THE GUARDIAN
DE OTROS MUNDOS
DE OTROS MUNDOS
Jenny Saville / Territories
Jenny Saville / Pesadillas
Jenny Saville / La estética de la obesidad
Jenny Saville / El paisaje del cuerpo
Jenny Saville / Debajo de la piel
Jenny Saville / La artista viva más cara de la historia
Jenny Saville / La verdadera víctima de la provocación de Banksy
Entrevista con Jenny Saville
Jenny Saville / La pintora de la carne
Jenny Saville / Pesadillas
Jenny Saville / La estética de la obesidad
Jenny Saville / El paisaje del cuerpo
Jenny Saville / Debajo de la piel
Jenny Saville / La artista viva más cara de la historia
Jenny Saville / La verdadera víctima de la provocación de Banksy
Entrevista con Jenny Saville
Jenny Saville / La pintora de la carne
DRAGON
Self-portraits / A voyage around myself
| Juncture Jenny Saville |
A voyage around myself
A collection of self-portraits from Joshua Reynolds to Jenny Saville gives a fascinating insight into how we view ourselves. And it's not always flattering
Peter Conrad
Sunday 30 October 2005 01.28 GMT
Moralists are always complaining about our lack of self-knowledge, but how can we be expected to know ourselves when it's so difficult for us to see ourselves? We are trapped in our bodies, obliterated by our own flesh; each of us is a subject, though other people see only an object.
Thursday, October 20, 2016
Jenny Saville / Under the skin
| Juncture by Jenny Saville |
Jenny Saville
Under the skinJenny Saville's paintings are known for the mountains of flesh they reveal, but it is the neuroses bursting through that interest her, she tells Suzie Mackenzie
Suzie Mackenzie
Saturday 22 October 2005 00.13 BST
In August 2003, on her way back to London from a holiday in Sicily, the artist Jenny Saville stopped off in the island's capital, Palermo, for what she intended to be a single day's sightseeing, having never visited the city before. It must have been like entering not so much a new world, as her own world - the world she has carried around in her head since she was a child and which she has forged into those monumental flesh paintings, her unidealised naked bodies, which erupt and leak at us, and force us into new habits of perception. What is this thing, the body, her paintings ask, when it is stripped bare, denuded of personality and context, this thing that seems so much a part of us, and which we try so hard to look after and yet which betrays us, decays from within, and which, when it leaves us, takes us with it?
| Trace, 1993 by Jenny Saville |
P
alermo, she says, seemed to her just like a vast mutant body, a body that doesn't belong to anyone or to any one moment in time. "A mysterious hybrid of a city. Here you see can see a 1950s public housing building abutting a Norman church. An Arab mosque next to a Catholic church." And, just like the body, it bears the scars of all its violent and tumultuous history.
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