Bird Wallpaper For Walls Biogoraphy
Walking into Adam Green’s Houseface exhibit (through August 25) is like walking into a Chuck-E-Cheese designed by Piet Modrian—a Chuck-E-Cheese with Macaulay Culkin and a bunch of indie rock stars splashing around in the ball-pit. And while we’re at it, replace those rubber balls with PBR cans (all of which were BYOB).The whitewashed walls of the Bowery gallery The Hole were thickly furnished with the bright, cubed paintings by Green, most famous as the lackadaisical troubadour half of the Moldy Peaches. But over the last few years, Green has directed his strange brand of folksy man-child swagger to visual art. His first New York show, Teen Tech, opened in 2010 at the Morrison Hotel and featured neon renderings of mutant ninja turtles and papier-mâché monuments to Garfield. “I was pretty early with the whole neon trip,” the artist joked when asked about Houseface’s more primary-color palette. “It’s everywhere now.” More recently, Green launched Cartoon & Complaint, a show at Dustin Yellin’s Red Hook space The Intercourse, which featured warped, mutant-ified renderings of Elmo, Big Bird and Green’s favorite muse, Garfield.Inspired by these subjects (and by Mondrian and the scandinavian De Stijl art movement), Green began breaking down the characters into cubic elements and painting imaginary buildings, with building blocks made of Big Bird’s tongue or Garfield’s hooded eyes. Green’s architectural vision is a combination of high and low aesthetics; while reminiscent of Gaudi, he gestures to a painting of a Garfield monolith and says “this one was inspired by the projects.” Although the show features several constructions, including a mammoth totem pole of Big Bird, Green shrugs off the suggestion that he actually try his hand at collaborating on a real building. “I only really came up with the concept in the last six weeks,” he says.While the sheer amount of work from those six weeks is impressive, it may be that self-inflicted time constraint that's responsible for the show's biggest drawback—repetitiveness. Although it’s hard not to be endeared by the bright colors and the coy cultural references, some of the pieces that feature larger color-blocking pale in comparison to the tighter Tetris-style paintings. Some of the former group make it feel like Green was striving to fill the gallery to the gills, overwhelm the viewer in an effort to charm—which is a little ironic, since the exhibit is Green’s take on minimalist titan Mondrian. And that scale makes the Mondrian and Gaudi references so glaring that they verge on feeling reductive.
Walking into Adam Green’s Houseface exhibit (through August 25) is like walking into a Chuck-E-Cheese designed by Piet Modrian—a Chuck-E-Cheese with Macaulay Culkin and a bunch of indie rock stars splashing around in the ball-pit. And while we’re at it, replace those rubber balls with PBR cans (all of which were BYOB).The whitewashed walls of the Bowery gallery The Hole were thickly furnished with the bright, cubed paintings by Green, most famous as the lackadaisical troubadour half of the Moldy Peaches. But over the last few years, Green has directed his strange brand of folksy man-child swagger to visual art. His first New York show, Teen Tech, opened in 2010 at the Morrison Hotel and featured neon renderings of mutant ninja turtles and papier-mâché monuments to Garfield. “I was pretty early with the whole neon trip,” the artist joked when asked about Houseface’s more primary-color palette. “It’s everywhere now.” More recently, Green launched Cartoon & Complaint, a show at Dustin Yellin’s Red Hook space The Intercourse, which featured warped, mutant-ified renderings of Elmo, Big Bird and Green’s favorite muse, Garfield.Inspired by these subjects (and by Mondrian and the scandinavian De Stijl art movement), Green began breaking down the characters into cubic elements and painting imaginary buildings, with building blocks made of Big Bird’s tongue or Garfield’s hooded eyes. Green’s architectural vision is a combination of high and low aesthetics; while reminiscent of Gaudi, he gestures to a painting of a Garfield monolith and says “this one was inspired by the projects.” Although the show features several constructions, including a mammoth totem pole of Big Bird, Green shrugs off the suggestion that he actually try his hand at collaborating on a real building. “I only really came up with the concept in the last six weeks,” he says.While the sheer amount of work from those six weeks is impressive, it may be that self-inflicted time constraint that's responsible for the show's biggest drawback—repetitiveness. Although it’s hard not to be endeared by the bright colors and the coy cultural references, some of the pieces that feature larger color-blocking pale in comparison to the tighter Tetris-style paintings. Some of the former group make it feel like Green was striving to fill the gallery to the gills, overwhelm the viewer in an effort to charm—which is a little ironic, since the exhibit is Green’s take on minimalist titan Mondrian. And that scale makes the Mondrian and Gaudi references so glaring that they verge on feeling reductive.
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