On View at the Hill Art Foundation, Jordan Casteel’s “Field of View” is a combined body of work from the ten most recent years of the artist’s career. The conversation between paintings creates a concise vision that works well with her vibrant color palette to depict scenes of friends, family, and neighbors in New York City. The symmetrically halved compositions found in pieces like Traveling Mercies, 2019, suggest intentional planning and make for pleasant viewing.
Traveling Mercies by Casteel, 2019, Oil on Canvas
As “Field of View” implies, photography is relevant to the artist’s methods. Casteel is known for taking photographs of her subjects before beginning her paintings. I would normally find this method sanitizing as it tricks artists into painting simply what is seen in the photograph, leaving the works flat and lifeless. However, in this case, the intimate scenes of candid humanity highlight Casteel’s presence in capturing the image both behind the camera and in front of the canvas.
- Alex Lopez-Martinson*
Alex I think you did a great job, your'e super eloquent and sharp with your word choice.
ReplyDeleteYou truly captured Casteel’s style and put to words how her vibrant palette brings New York scenes to life. I especially like your point on her use of photography—it’s interesting that, while this concept usually feels overly controlled, Casteel’s work still feels personal and warm.
The irony you mention about the exhibit being in Chelsea is a super strong observation, one I did not even consider. It adds another layer, considering the neighborhood’s history versus the themes in her work. Maybe adding a bit more on how Casteel’s subjects contrast with the gallery space would make it stronger.
Overall I really enjoyed your writing, your critique has a strong perspective and clear point. My only suggestion would be adding a little more on how Casteel manages to evoke such depth through her approach to photography compared to other artists.