Selected works by Joanne Greenbaum

Joanne Greenbaum
Poster

2004

Oil and flashe on canvas

178 x 127cm
Joanne Greenbaum’s playful abstractions approach painting with a sense of liberation. Primarily concerned with the formalism of plastic arts, her canvases don’t follow proscribed formulas of conventional painting, but rather continuously test and expand the possibilities by which painting can evolve. In Poster, Greenbaum’s graphic composition unfolds with its own rules of logic: bold shapes and colours are mapped out and dissected by the improbable blue-print of their design. Greenbaum’s diagram motif acts as both a structural device and an extension of her painterly consumption; her delicately drawn lines exhibit a contemplated intimacy and dimension of fantastical space, suggesting an inexhaustible microcosm of illusionary delight.
Joanne Greenbaum
Table of Contents

2004



178 x 254cm
Drawing becomes an all-consuming force in Joanne Greenbaum’s paintings; the ephemeral intricacy of her surfaces is fixated in her concentrated gestures. In Table of Contents, Greenbaum’s solid masses of colour swell from and dissolve into attenuated mark-making: purple and orange architectural forms spring up with sketchy velocity, the matt black ground devours the painting, its smothering energy disintegrating short of the canvas edge. The chaotic system of numbers and diagrams serves as formalist play: the pleasure of stroking silver-white over black, the frantic vivacity of red and blue squiggles dancing between a web of lines. Table of Contents reads like a lexicon of everything; an encompassing sentiment expressed in minute detail.
Joanne Greenbaum
Trend Report

2004



203 x 178cm
Joanne Greenbaum’s canvases display a rarefied process of precipitance. Greenbaum’s paintings evolve through an organic process; her compositions directed by their continuously evolving forms, creating spontaneous tension through the immediacy of the artist’s hand. A deliberate lack of editing transpires as painterly confidence: each gesture contains an importance of its own realisation and ultimate contribution. In Trend Report, Greenbaum’s forms drip, spill, and overlap in competition for space: doodled numbers claim territories, while traces of lines rise defiantly through rich fields of colour. By laying bare her process, Greenbaum’s painting resonates with a sense of passing time, monumentalising the history of its own creation.
Joanne Greenbaum
Workbook

2006

Oil on canvas

198.1 x 198.1 cm
Joanne Greenbaum
Prom King

2006

oil, flashe and acrylic on canvas

279.4cm x 254 cm
Joanne Greenbaum
Prom Queen

2006

oil, flashe and acrylic on canvas

279.4cm x 254 cm

Articles

JOANNE GREENBAUM

By Mary Heilman, Bomb Magazine

I first visited Joanne Greenbaum's studio about ten years ago because Cady Noland told me that I might like her work. I was already a major fan of Cady; her installations inspired me. I knew what she was about. Where Cady eyed the shabby, lower ends of society and found a sharp American family narrative in such things as discarded beer cans, hospital apparatus or construction site gear, Joanne seemed to be remembering the atmosphere of a festive female experience of the 60s. She created paintings that floated bright-colored floral arabesques or bordered clear white spaces with curtain-like symmetrical curves. These baroque or carnivalesque motifs reminded me of the magical Edwardian style that was the 60s of Donovan, Nick Drake, flower power, Papagallo shoes, Marimekko dresses, Correges boots, the toodle of renaissance commedia del arte pipes.

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Source: bombsite.com


Joanne Greenbaum at D'Amelio Terras

By Lyle Rexer

Published in Art in America, January 2002.Joanne Greenbaum's art is one of maximum attention and maximum risk, disguised as an obsessive game. It is loaded with analogies, historical references and, most importantly, lessons of the hand. In these large, cartoonlike abstractions, there is an entire primer on the gambles and rewards of painting.
The seven works in this, her third solo exhibition at D'Amelio Terras, meet head-on the challenge of the large canvas. Each one presents an elaborate, imprecise construction, with a particular character, generated out of distinct color and formal relationships. "that's the pre-Columbian copper necklace," you might say, or "that's the one that looks like a kid's toy." Built on a white ground from flat simple elements - rectangle, circle, line, cube - the compositions are amazingly dynamic, shifting from cartoon outline into three-dimensional recessions, and back to what look like network diagrams. In most of the paintings, gesture has been banished, but every now and then there is a whorl, a Frank Stella pattern inside a square, a deep organic blob with a hole in it, or the swipe of a brush. Just right.

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Source: damelioterras.com