Jenna Gribbon, whose voyeuristic paintings by her partner have garnered a cult following, joins the list at David Kordansky Gallery in Los Angeles. It will continue to be co-represented by Massimo De Carlo and LDGR, whose headquarters are respectively in Milan and New York.
The Brooklyn-based figurative painter’s work has caught the attention of collectors. Gribbon’s partner, musician MacKenzie Scott, also known by his stage nickname Tores, is the subject of much of his work.
She has cited artists such as Édouard Manet, Jean-Honoré Fragonard, Karen Kilmnik and Mary Cassatt, as well as filmmaker Agnès Varda, among her influences.
For dealer David Kordansky, Gribbon’s paintings go beyond mere trends in the contemporary art scene.
“The current fascination with figuration tends towards a worn surrealism,” he said, describing the artist’s vision as “bolder” than many of his peers trafficking in similar images. According to him, his work presents “an image of desire that is not normally made available to viewers”.
Gribbon often portrays Scott in close-up, cropped shots, resulting in portraits that more closely resemble the diaristic imagery seen on social media platforms than traditional portraiture. Kordansky said he saw the work as an invitation to a “psychosexual personal space”.
“I wanted to make paintings that could only come from the privileged, close and unguarded perspective of a romantic relationship,” Gribbon said. ART news, adding, “Seeing her again and again produces a sense of familiarity and specificity. She is no longer ‘the subject’ – she is herself.
This closeness between Gribbon and Scott goes both ways – references to Gribbon can be found in Scott’s music.
Last January, curators at the Frick Museum in New York presented one of Gribbon’s recent portraits of Scott, titled What am I doing here? I should ask you the same thing (2022). This work, showing a partially nude Scott, appeared alongside a portrait of Hans Holbien.
The news follows Gribbon’s addition to LDGR in June, making her one of the few artists the gallery – the result of a merger between several major New York spaces – has retained after its founders left some. lost many others they previously represented. She was one of many artists the electricity merchant brought for its inaugural stand at Art Basel’s new French flagship, Paris+.
Gribbon’s paintings have also attracted attention on the auction circuit. Since beginning work at Phillips in 2020, when his work first fetched prices of around $14,000, records for his paintings have risen. The current benchmark of $100,800 was set when his painting Pollyanna wrestlers (2018), featuring two women brawling, sold at a Phillips Contemporary Art Evening Sale in May. He had been given an estimate of $75,000.
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