About Dana Schutz and her art

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About Dana Schutz and her art

Text written by Patricia Ellis

For young New York artist Dana Schutz, painting is a necessity of her imagination. Working within strict self-imposed codes of representation, Schutz develops elaborate fantasy worlds, fictions which can only exist in paint.

Her practice is born of a highly complex notion of the artist as author, inventor, magician, scientist and divine power. Working as both slavish manipulator and somewhat cruel god, Dana Schutz creates and rules over a netherworld of obscure invention and functionless objects, populated by a cast of characters that are bizarre, grotesque and delightful. Schutz offers no plausible explanation; she merely revels in the possibility of their fabrication.

Dana Schutz’s work is the art of storytelling. Her paintings boast fables of exotic culture and ritual. Not literal narratives, rather dark suggestions of foreign existence, sophisticated and barbarian in equal measure.

It’s the interconnected totality of Dana Schutz’s vision that is most convincing. Albinos, transformers and a tribe of people who eat themselves are recorded with the dedication of an anthropologist - a freak show rendered with genuine love. Landscapes and still lifes, curiosities in their own right, serve as documentary evidence of their strange ways: relics of savage ceremonies or beliefs.

The real subject, however, is control. Dana Schutz places herself as the painterly equivalent to Conrad’s Kurtz, in Heart of Darkness, she both conquers and surrenders to her own adventure.

Infused with a primal sense of urgency, Schutz’s wildly expressive painting style and garish palette give her fantastic illusions to physicality. She authenticates their making with a well-versed art history ranging from Gauguin to Guston. Described in ArtForum as ‘our finest contemporary symbolist', Dana Schutz makes paintings for the best reason of all: the simple urge to articulate an idea that takes no other form.

DANA SCHUTZ

About Dana Schutz and her art