![]() ![]() ![]() Nature also provided Lincoln with a less politically charged subject than portraiture, a genre that now invites scrutiny of who is-or is not-depicted. “It’s a symbol of a cloud or a symbol of a wave,” she says. By 2019, when Lincoln began making seascapes, she had simplified her style to a minimalism that reads almost like shorthand. Lincoln’s images of foliage were bright and lush, reminiscent of Henri Rousseau, while Hollowell’s skewed darker. Both women began to explore landscapes and had a two-person show in Queens in 2013. She and her now-husband, Kevin Curran, mounted exhibitions in their loft-they called it the Laundromat-to promote other artists, including Hollowell. Though her work wasn’t selling much, Lincoln helped create a community. Fast-drying acrylic allowed for a looser gesture and fed her growing interest in color. She also ditched oil paint because she found it muddied her hues and reinforced her perfectionist tendencies. “I was working in this stodgy way, and I needed to make it contemporary.” Shaking up her practice, she abandoned painting precise nudes and self-portraits from life and experimented with drawing from memory in Sharpie and overlaying acrylic. “Nobody cares that you can draw a dog that looks like a dog. Still, Lincoln realized her own paintings had felt “out of step” since college, when she had a rude awakening. Loie Hollowell, Linked Lingam in red, yellow and bronze, 2020-2022, oil paint, acrylic medium and high-density foam on linen over panel A lot of what you saw in galleries was just visually dry.” “I think of it as a bunch-of-shit-in-a-room kind of installations, like a bunch of random garbage. When both ended up in New York about 15 years ago, the two reconnected and developed a rapport that allowed for cross-fertilization in a period, as Lincoln recalls, when painting, especially the realism she then favored, was uncool. “They were just so good that I really idolized her.” “She was making these beautiful portraits of herself and of her friends,” says Loie Hollowell, who was in high school at the time. Lincoln has known Hollowell since studying under her father, artist David Hollowell, at UC Davis. ![]() Lincoln, Hollowell and Wakoa are also close friends who live near each other, have young children of about the same ages and frequently discuss art-making. It almost feels like it’s a parallel art world, like the real art world is on Instagram, and IRL is a weird shadow of it.” “That is such an important way that I interact with people. “I definitely think of my work as operating on Instagram as much as in the real world,” Lincoln says. But demand for their work reflects a generational shift like Lincoln’s, these canvases look stellar online. The output from these women once may have been derided as “decorative”-not long ago, “colorist” was a dirty word. Now They're up for Grabs.Ī Lucian Freud Painting of His Daughter Could Fetch up to $24 Million at Auction Micheal Jordan Wore These 6 Air Jordans During the NBA Finals. Ukraine Unveils a New Banksy Postage Stamp That Mocks Russian President Vladimir Putin “Because for a little while, it looked better on-screen than in person.” “I remember thinking, ‘I want the color in the painting to be as bright in real life as it looks on the screen,’ ” she says on a gray winter morning. Since creating a website for her art in the early 2000s, she has aimed to replicate on canvas the way pigment can light up digitally. The paintings, destined for a solo show opening at Sperone Westwater in New York this month, practically glow, as if illuminated on a giant iPhone.įor Lincoln, that’s no coincidence. There are pink raindrops, green clouds and purple earth, lit by sunrays beaming down or radiating outward in concentric circles. The new seascapes and landscapes in Amy Lincoln’s cozy studio, a skylighted converted garage behind her house on a quiet street in Queens, N.Y., burst with blues and magentas so vibrant, yellows and reds so brilliant, they’d make fireworks jealous. ![]()
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