ARTISTS
Manny Farber: An Up Beat Title
Quint Gallery is pleased to present Manny Farber: An Up Beat Title, an exhibition of paintings and drawings made between 1984 and 2008, the year before his passing. This exhibition will be presented in coordination with the La Jolla Historical Society鈥檚 exhibition Double Bill: The Art of Manny Farber and Patricia Patterson, which will explore the creative partnership of the celebrated husband-and-wife painters, highlighting how life in Leucadia and their work at UC San Diego shaped their distinct artistic voices.
In addition to Farber鈥檚 well-known tabletop compositions, An Up Beat Title highlights a set of late drawings that revisited a style seen in his earlier drawings from the mid-70s. Depicting the exterior of the home and garden shared with his wife, Patricia Patterson, these drawings give the impression of an artist in his final years, taking stock of that which has been cultivated over the long run of a life lived in art. Farber鈥檚 late style, while in markmaking returns to a younger version of himself, in gesture appear quick and loose, perhaps even unfinished. These intimate paper works, inspired by Patricia鈥檚 gardens, stand as a tender closing chapter to his practice.
The majority of his output, his "tabletop paintings," were driven by a relentless engagement with the process more than a desire to speak of film or flowers. These compositions are characteristically punctuated by leaves, vegetables, and flowers from the home garden designed by and tended to by Patricia, and which divided their studio spaces. Though Farber was known for his iconoclastic views on art and film, his midcareer paintings also depict a self awareness of the inevitability and pitfalls of ego, literally scrawled in the handwritten notes that uncrumple in paint throughout the surface layers. The viewer is pulled up close by messages scribed into the paint, alternately deadpan and unexpectedly revealing, surly and self-deprecating. The missives record the nagging details of composing a painting, things that need to be done, fragments of conversation, and the anxious and humored narratives of dreams. Other objects, like cutout paper constructions and torn out art book pages, rebar, and garden tools deploy paths directing the viewer to work their way through these paintings.
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Quint Gallery is pleased to present Manny Farber: An Up Beat Title, an exhibition of paintings and drawings made between 1984 and 2008, the year before his passing. This exhibition will be presented in coordination with the La Jolla Historical Society鈥檚 exhibition Double Bill: The Art of Manny Farber and Patricia Patterson, which will explore the creative partnership of the celebrated husband-and-wife painters, highlighting how life in Leucadia and their work at UC San Diego shaped their distinct artistic voices.
In addition to Farber鈥檚 well-known tabletop compositions, An Up Beat Title highlights a set of late drawings that revisited a style seen in his earlier drawings from the mid-70s. Depicting the exterior of the home and garden shared with his wife, Patricia Patterson, these drawings give the impression of an artist in his final years, taking stock of that which has been cultivated over the long run of a life lived in art. Farber鈥檚 late style, while in markmaking returns to a younger version of himself, in gesture appear quick and loose, perhaps even unfinished. These intimate paper works, inspired by Patricia鈥檚 gardens, stand as a tender closing chapter to his practice.
The majority of his output, his "tabletop paintings," were driven by a relentless engagement with the process more than a desire to speak of film or flowers. These compositions are characteristically punctuated by leaves, vegetables, and flowers from the home garden designed by and tended to by Patricia, and which divided their studio spaces. Though Farber was known for his iconoclastic views on art and film, his midcareer paintings also depict a self awareness of the inevitability and pitfalls of ego, literally scrawled in the handwritten notes that uncrumple in paint throughout the surface layers. The viewer is pulled up close by messages scribed into the paint, alternately deadpan and unexpectedly revealing, surly and self-deprecating. The missives record the nagging details of composing a painting, things that need to be done, fragments of conversation, and the anxious and humored narratives of dreams. Other objects, like cutout paper constructions and torn out art book pages, rebar, and garden tools deploy paths directing the viewer to work their way through these paintings.
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