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By Isabel Samaras
Isabel Samaras's quirky, attractive, pop-surrealist paintings has had a cult following for yearsand now in the end her first monograph, On smooth Hooks, is right here. Drawing her impression from vintage television exhibits and work through the outdated Mastersfor instance riffing on Gricault's Raft of the Medusa by way of exchanging the figures with characters from Gilligan's IslandSamaras has created a witty, erotic, and surreal physique of labor. This clean and surprising quantity encompasses a three-way interview among Samaras and fellow low-brow artists Shag and The Pizz, in addition to pleasant and enlightening statement from gallerist Justin Giarla and paintings author Colin Berry, and an erotic brief tale by way of Lucy Blue
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Additional resources for On Tender Hooks
Sample text
Laughter] I: The thing is I didn’t intend to go that way. The paintings I was doing in art school were totally different. After art school, I started making these lunch boxes as a gag, mimicking the kind of bad painting the original lunch boxes were done in. I didn’t have to push my skills that hard to sort of make it look like a real lunch box. What I was focusing on started shifting and changing, and my art had to rise to match what I was trying to do. But it was a complete accident. I didn’t study any of that stuff in art school.
The show was fine, but what struck me was the array of trinkets for sale in the gift shop—catalogs, calendars, address books, T-shirts, magnets, key chains, you name it—all adorned with the artist’s visual greatest hits. It made me wonder: Is this all that art means to anyone anymore? A Calder bottle opener? A Van Gogh coin purse? I don’t think so. As tacky as these gift-shop gewgaws can be, they illustrate how art is moving from the rarefied object, spotlit in a museum or gallery, into one of casual, everyday interaction, familiarity, even disposability (or, hopefully, recyclability).
I don’t have to be anywhere, and the later it gets, the more it starts to seem like I’m slipping into a dream. AN EMERGING SPECIES LUNCH BOXES AND TV TRAYS ASSORTED ADULT LUNCH BOXES ACRYLIC & ENAMEL ON TIN, 63/4 × 83/4 × 4 INCHES 1990-1991 THE ASSUMPTION OF ELVIS ACRYLIC & ENAMEL ON TIN, 153/4 × 203/4 INCHES 1991 CORONER’S REPORT ACRYLIC & ENAMEL ON TIN, 201/2 × 163/4 INCHES 1992 THE FINAL FRONTIER ACRYLIC & ENAMEL ON TIN, 201/2 × 16 INCHES 1994 BATGIRL ACRYLIC & ENAMEL ON TIN, 151/2 × 211/2 INCHES 1994 THE RAFT OF THE MEDUSA THEODORE GRICAULT, 1819 When the French frigate Medusa wrecked in 1816, it was famous not only as a maritime disaster but because the survivors resorted to cannibalism.