London, England, United Kingdom
|Education||Epsom School of Art (1987)
Morley College (1987-89)
|Alma mater||Slade School of Art (1993)|
Cecily Brown (born 1969) is a British painter. Her style displays the influence of a variety of painters, from Francisco de Goya, Willem de Kooning, Francis Bacon  and Joan Mitchell, to Old Masters like Rubens and Poussin, yet her works also present a distinctly female viewpoint. Brown lives and works in New York City.
Early life and education
Brown was born in London, England, in 1969. She is the daughter of novelist Shena Mackay and art critic David Sylvester. Brown earned a B-TEC Diploma in Art and Design from the Epsom School of Art, Surrey, England (1985–87) (now the University for the Creative Arts), took drawing and printmaking classes at Morley College, London (1987–89), and received a BA degree in Fine Arts from the Slade School of Art, London (1989–93). During her studies, she worked as a waitress and, later, in an animation studio. In addition to painting, Brown also studied printmaking and draftsmanship. She earned First Class Honours at Slade and was the first-prize recipient in the National Competition for British Art Students.
Brown relocated to New York from London in 1995. Since 2011, she has been working from a studio at a former office near Union Square. Before that, she maintained a studio in the Meatpacking District, Manhattan.
Brown's paintings combine figuration and abstraction. Expanding the tradition of abstract expressionism, she has become known for her painting style suggestive of abstract and abstract expressionist painters such as de Kooning and Oskar Kokoschka. Sexuality and attraction are important themes in her work, which she explores through semi-figurative and abstract means. Her paintings also recall the works of Philip Guston and the Bay Area Figurative School of the 1950s and 1960s. Brown often titles her paintings after classic Hollywood films, such as The Pyjama Game, The Bedtime Story and The Fugitive Kind. In 2013, Brown based a series of paintings on a photograph of a large group of nude women that appeared on the British release of a 1968 Jimi Hendrix album Electric Ladyland.
The sexuality and eroticism of Brown's depictions of expressive figures and nudes are echoed in rich colors, luscious paint handling, and animated brushwork; her work combines representational and abstract elements. Her tactile technique stands out among contemporaries and links her to the art movement Abstract Expressionism. However, self-conscious of her connection with artists such as Willem de Kooning and Lucian Freud, Brown often interjects fresh humor or irony by titling her paintings after famous musicals and films. She has been grouped with leading female contemporary painters, including Charline von Heyl, Jacqueline Humphries, Laura Owens, Jutta Koether, Amy Sillman, and Emily Sundblad.
In the media
In the February 2000 edition of Vanity Fair, Brown, along with fellow artists Inka Essenhigh, John Currin and others, appeared in full-color photographs taken by Todd Eberle. A photograph that appeared in The New Yorker made showed Brown from the back as she stood, cigarette in hand, studying one of her paintings.
Brown has received a lot of critical attention for powerful, athletically-sized canvases and bold brushwork. The assertiveness of her paintings has often been compared to Abstract Expressionist works which, during their time, were linked to a fierce masculinity. As a female artist working in this vein, Brown's works have been seen as confronting both this tradition and gendered assumptions about art.
However, some recent critics have taken a different stance. Roberta Smith, in the New York Times, called a Gagosian exhibit it reviewed in 2000 "lackluster" and suggested that Brown's "career is ahead of her artistic development." In a 2011 review for The Guardian, art critic Adrian Searle rejected the dynamic and assertive surfaces of Brown's art and wrote: "What's really missing in her art is character, and for all the hectic painting, a sense of necessity." Likewise, in 2013, Leah Ollman wrote a review of a Gagosian Gallery show for The LA Times, in which she observed: "Instead of powerful and passionate, her voice comes across as detached. The volume is turned up, but the verve is on low."
Solo exhibitions include:
- “Directions: Cecily Brown,” Hirshhorn Museum and Sculpture Garden, Washington, D.C. (2002)
- MACRO, Rome (2003)
- Museo Nacional Centro de Arte Reina Sofia, Madrid (2004)
- Museum of Modern Art, Oxford (2005)
- Kunsthalle Mannheim (2005–06); Des Moines Art Center, Iowa (2006)
- Museum of Fine Arts, Boston (2006–07)
- Deichtorhallen, Hamburg (2009)
- “Based on a True Story,” GEM, Museum of Contemporary Art, The Hague (2010, traveled to Kestnergesellschaft, Hannover)
- Essl Museum, Klosterneuburg, Austria (2012)
Brown's work has attracted the attention of private art collectors including Elton John and Michael Ovitz. Her paintings are in the permanent collections of important museums and institutions including the Solomon R. Guggenheim Museum, the Whitney Museum of American Art, the Hirshhorn Museum and Sculpture Garden, Tate Modern, Museum of Contemporary Art, Los Angeles, the Albright-Knox Art Gallery, and the Des Moines Art Center.
- Dore Ashton, Cecily Brown, Rizzoli Press. November 11, 2008. ISBN 978-0847830923
- Scott, Sue (2013). "Cecily Brown" in The Reckoning: Women Artists of the New Millennium, 31. Munich: Prestel. ISBN 978-3-7913-4759-2.
- "Cecily Brown". Artspace.
- Karen Wright (November 29, 2013), In the studio: Cecily Brown, Painter The Independent.
- "Cecily Brown's First Ever Solo Exhibition in the Netherlands at GEM Museum of Contemporary Art". Artdaily.org. December 31, 2010. Retrieved 7 March 2015.
- http://www.artcritical.com/DavidCohen/SUN89.htm review accessed online June 1, 2007
- "Cecily Brown". Blouin ArtInfo. Retrieved 7 March 2015.
- Roberta Smith (January 21, 2000), ART IN REVIEW; Cecily Brown New York Times.
- Small, Rachel (March 2015). "CECILY BROWN SHOWS HER WOMEN UPTOWN". Interview Magazine. Interview Magazine.com. Retrieved March 8, 2015.
- Diane Solway (August 19, 2013), Charline von Heyl: In the Abstract W.
- Lewis, Perri (September 20, 2009). "Cecily Brown: I take things too far when painting". The Guardian. Retrieved 7 March 2015.
- Wright, Karen (November 29, 2013). "In the studio: Cecily Brown, Painter". The Guardian. Retrieved 7 March 2015.
- Cecily Brown P.S. 1, New York.
- Roberta Smith (July 5, 2000), Portrait of the Artist as a Young Woman; Glossy Images That Both Mimic and Mock Male Sexuaility New York Times.
- Alex Williams (July 4, 2004), Cutting Edge In the Arts Now Is Joining a PAC New York Times.
- Smith, Roberta (January 21, 2000). "ART IN REVIEW; Cecily Brown". The New York Times. Retrieved 7 March 2015.
- Ollman, Leah (September 26, 2013). "Review: Cecily Brown's paintings do not disturb". Los Angeles Times. Los Angeles Times. Retrieved March 8, 2015.
- Cecily Brown Gagosian Gallery.
- "Cecily Brown". Museo Nacional Centro de Arte Reina Sofía. Retrieved 7 March 2015.
- Museum of Fine Arts. "Cecily Brown". Retrieved 7 March 2015.
- "Cecily Brown". Deichtorhallen. Retrieved 7 March 2015.
- "Cecily Brown". Essl Museum. Retrieved 7 March 2015.
- Richard Lacayo, "Art: Major Art Attack," TIme, March 29, 2004.
- Julie L. Belcove (May 8, 2015), After Gagosian, Cecily Brown Hits Reset: Smaller Paintings, Smaller Gallery, Evil Mice, and Male Nudes New York Magazine.
- Roberta Smith (December 23, 2003), Art World Startled as Painter Switches Dealers New York Times.
- Langmuir, Molly (November 12, 2014). "THE 12 MOST DARING, UNEXPECTED, AND EXCITING WOMEN IN ART NOW". Elle. Retrieved 7 March 2015.