Looking at contemporary works of art, one can take great pleasure in decoding their answers. If painting is indeed painting’s favorite food then this question could be asked of every artist. “There are so many great dishes,” she said. After a long pause she glanced toward her bookshelf filled with monographs on the great historical masters. “If we think of art history as a form of nutrition,” I proposed, “then the question is, ‘“What is your favorite dish?’” Leaf was bemused. “After all, curators have to ask artists a question when they invite them to be part of a show.” When I mused on how Jorn viewed art history as vital sustenance for his own work, Leaf interrupted and playfully compelled me to make my curatorial conceit succinct: “But what was the question you asked them?,” she demanded. I had taken the title for my new exhibition from the art movement's late charismatic founder Asger Jorn who loved what he dubbed “sofa paintings”-anonymous flea market canvases that he used as the supports for his Peintures Detournées. Leaf and I spoke about her work’s relationship to the CoBrA movement in Europe. Courtesy of South Etna Montauk.ĭuring a recent studio visit with legendary nonagenarian artist June Leaf, who emerged as part of the “Monster Roster” scene in Chicago in the 1950s, I shared my plans for the exhibition Painting is Painting’s Favorite Food: Art History as Muse, which opens tomorrow at Amalia Dayan and Adam Lindeman’s new gallery South Etna Montauk. Artworks (in window) by Betty Tompkins (left) and Glenn Brown. At South Etna Montauk, the gallery's sign was designed by Julian Schnabel.
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