Legacy: The Emily Fisher Landau Collection Audio Guide Playlist
This audio guide, introduced by Alice Pratt Brown Director Adam D. Weinberg, highlights a diverse range of works from the exhibition Legacy: The Emily Fisher Landau Collection. Artists John Baldessari, Gregory Crewdson, Eric Fischl, Jasper Johns, Glenn Ligon, and Mark Tansey provide additional commentary.
NARRATOR: Eric Fischl explores the human figure in psychologically charged narratives, set in America’s suburban landscape. The composition of this canvas makes reference to the art historical trope of the “three graces”—nude representations of women representing beauty, youth, and femininity. But in Fischl’s update, the figures are oddly out of harmony with one another. Fischl discusses the three figures at its center:
ERIC FISCHL: With the adult women, I’m looking at two very different body types, and in the child, I’m looking at a young innocent who has picked up a crab, which she is both fascinated by and freaked out by. And so she seems to be at a moment of some kind of discovery, I guess.
And the other woman in the sunglasses is a new kind of woman. She’s clearly somebody that takes great pride in the strength and athleticism of her body. Whereas the other one, standing sort of very languid and sensual, is sort an older form of the female.
And it’s set in an estuary, which is a confluence at the end of a river before it joins the ocean or a larger mass of water. So its both a filtering system and it’s a transitional space, metaphorically.
I’ve found that I respond to body language. Even when I use models, I never tell a model what to do. Whether they’re centered, off balance, comfortable, uncomfortable, you know, all of those things are emanations from the body. And they’re provocative for me in terms of generating memories and situations and connecting to feelings.
NARRATOR: When Fischl came on the art scene in the late 1970s, critical response was mixed. Critics aligned with conceptual art, who thought painting was regressive, objected to his embrace of figurative painting. But painting was on the rise in the 1980s, and there were many artists and critics who welcomed Fischl’s dark, psychologically complex tableaux.
- 400 Introduction to Legacy: The Emily Fisher Landau Collection
- 401 Ed Ruscha, The Act of Letting a Person into Your Home, 1983
- 402 Andy Warhol, Portrait of Emily Fisher Landau, 1984
- 403 Willem de Kooning, (no title), 1987
- 404 Cy Twombly, Untitled, 1964/84
- 405 Richard Prince, Man Crazy Nurse #3, 2003
- 406 Mark Tansey, Valley of Doubt, 1990
- 407 Andy Warhol, Myths, 1981
- 408 Agnes Martin, This Rain, 1960
- 409 Carl Andre, GAZETTEER, 1960
- 410 Rodney Graham, Oak, Banford, 1990
- 411 Allen Ruppersberg, The Gift and the Inheritance (Strive and Succeed), 1989
- 412 John Baldessari, What This Painting Aims To Do, 1967
- 413 Joseph Kosuth, Titled (Art as Idea as Idea), [self], 1967
- 414 Nan Goldin, Self-Portrait with Milagro, the Lodge, Belmont, MA 1988, 1988
- 415 Peter Hujar, Divine, 1975
- 416 Robert Mapplethorpe, Self-Portrait, 1988
- 417 Felix Gonzalez-Torres, Untitled (Love Letter from the War Front), 1988
- 418 Glenn Ligon, Son of a Role Model, 1990/91
- 419 Gregory Crewdson, Untitled (beckoning bus driver), 2001–02
- 420 Neil Jenney, Threat and Sanctuary, 1969
- 421 Eric Fischl, Emptying of the Estuary, 1993
- 422 Jenny Holzer, Under a Rock: You Spit on Them, 1989
- 423 Jasper Johns, Painting with Two Balls, 1971
- 424 Jasper Johns, Untitled, 1988
- 425 Keith Haring, Untitled, 1985