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Stephen Maine reviews Scavenge plus mention in The New Yorker

20 July, 2017

Stephen Maine’s review considers MacPhee’s new work in relation to various art-historical references such as abstract painting and the use of clothing in modern art.

“On the painting-into-clothing spectrum, MacPhee occupies a very different position from (for example) the wearable paintings — parangolés — of Hélio Oiticica. Oiticica’s project was more conspicuously ‘socially engaged’ than MacPhee’s is. But (allowing the exhibition’s press release to shed light) MacPhee’s use of cheap, discount duds reveals her underlying concern with the economically precarious existence led by those who regularly clothe themselves from the 99-cent store. And anyway, social engagement is where you find it; arguably, for his late-1950s ink drawings of folded shirts fresh from the laundry, Willem De Kooning essentially collaborated with the worker who did his washing.” -SM

Read Stephen Maine, “The Clothes Make the Painting“, Hyperallergic, July 8, 2017


Also see a succinct write up on the show in the Goings on About Town section of the New Yorker.


Leslie Wayne discusses Scavenge with MacPhee

20 July, 2017

Medrie MacPhee gives insights into her new series of works in this conversation with New York artist Leslie Wayne.

“Well perhaps. I don’t think of decisions in painting as being so clearly linear. One thing is certain though, adding clothing and other collaged items (like the large acrylic transfers) took me out of my normal game into something entirely different. Even my idea about when a painting is finished became something new.” -MacPhee

Read “Comfort Clothing for Fraught Times”: Medrie MacPhee in conversation with Leslie Wayne, Artcritical: the online magazine of art and ideas, 2017.


Two Coats of Paint review of Scavenge

18 June, 2017

Sharon Butler reviews Medrie MacPhee’s new paintings at at Tibor de Nagy Gallery in Two Coats of Paint art blog. Butler describes the work as inventive and considered, and a departure for MacPhee. “She creates the abstract images through a process of creative destruction. Items that were once fully utilitarian and three-dimensional are dismantled, their elements recombined in new formations. The space is shallow, the lines and shapes are pushed up to the surface, and a sense of claustrophobia prevails. Expressing anxiety is, paradoxically, liberating.”

– Sharon Butler, “Medrie MacPhee: Flat-out at Tibor de Nagy”, Two Coats of Paint, June 17, 2017.

Click here to read the full review….


Scavenge, solo show at Tibor de Nagy Gallery, NYC

29 May, 2017

Medrie Macphee is showing a series of new work in an exhibition entitled Scavenge from June 15 to July 28, 2017. It is the inaugural exhibition at Tibor de Nagy Gallery‘s new location at 11/15 Rivington St. in New York City. Opening Reception Thursday, June 15, 6-8 pm.

“This body of work presents a significant shift for MacPhee who is known for her use of architecture and architectural forms to create narratives around the ideas of a dystopian future/past. In 2012, MacPhee began a fake fashion line (RELAX) out of cheap discount clothing. The premise was total comfort in a fraught time… Gradually what had been a “fashion” sideline began finding its way into the paintings. Sometimes the clothing fabric is a detail in a larger painting and other times it covers the entire surface…”

Click to read the full press release.

Check out the listing in Artnet News’ editors-picks by Caroline Goldstein: “From the Future of Feminism to Cat Art: 12 Things to See in New York This Week”, June 12, 2017, or in Time Out – New York: “Scavenge” June 17, 2017.

Video of opening courtesy of Paul Caranicas

Photos of installation and opening at Tibor de Nagy Gallery courtesy of Drew Shiflett & Wendy White.

 

 

 


99 Cents or Less Group Show at MOCAD

10 May, 2017

Medrie MacPhee joins the ninety-nine US artists for a major group exhibition at the Museum of Contemporary Art Detroit (MOCAD). 99 Cents or Less addresses Detroit’s ongoing economic crisis and its 2013 bankruptcy (1).

Each artist was given a check for 99 dollars to purchase items at 99-cent stores. Macphee bought clothes and notions which she collaged together to create two outfits entitled The Precariats (“a social class formed by people suffering from precarity, which is a condition of existence without predictability or security, affecting material or psychological welfare.” –Wikipedia). 99 Cents or Less opens May 19 and continuing until August 6, 2017 in downtown Detroit.

Preview of works in the exhibition: The Precariats: Male figure (72 x 21 x 11 in.) and Female figure (72 x 21 x 11 in.). Photos: John Berens

 

 

Installation views at MOCAD.

 

See the full panel discussion with curator Jens Hoffmann, MacPhee and 12 other artists at MOCAD, June 21, 2017.


Attending BAU Institute’s summer residency in Cassis, France

10 May, 2017

This summer, Medrie MacPhee will participate in the BAU Institute‘s summer arts residency in Cassis France hosted by the Camargo Foundation. From July 24 to August 21, she will be working on a series of works on paper related to recent paintings.

photo: The Camargo Foundation


Recipient of Anonymous Was A Woman Award

13 October, 2016

Medrie MacPhee is among 10 women artists from the US, Mexico, Iran, Cuba, Canada, and Japan to be named as this year’s recipients of the Anonymous Was A Woman Award. The name of the grant program refers to a line in Virginia Woolf’s A Room of One’s Own. The grant is awarded to artists over 40 years of age “who have made significant contributions in their fields to date, while continuing to exhibit originality and creative potential through ongoing work.” MacPhee is in the company of Shiva Ahmadi, Laura Anderson Barbata, Tania Bruguera, Sonya Clark, Simone Leigh, Eiko Otake, Rona Pondick, Lourdes Portillo and Shinique Smith.

For more information see: the official press release, the list of 2016 award winners, or the Anonymous Was A Woman Award site


Interview by Sharon Butler on “Two Coats of Paint”

18 March, 2016

Sharon Butler sits down with Medrie MacPhee to discuss imagery, humour, color, technique and more. Two Coats of Paint is an NYC-based art project, that includes an award-winning art blog with an emphasis on contemporary painting and related issues.

Click here to read.


“All That Jazz” installed in Mies van der Rohe building in Toronto

23 September, 2015

Medrie MacPhee’s large scale commission was installed in the lobby of the Mies Van der Rohe central tower of the TD Center in Toronto, near King and Bay Street.  Titled “All That Jazz,” it echoes the period in which Mies worked and the strong association of jazz with 20th century modernism. The painting has a musical dimension, combining abstraction with architectural form.

Installing All That Jazz

Installing All That Jazz, 2015

Installing All That Jazz

Installing All That Jazz, 2015

 

 


Studio Shots of “All That Jazz” – Summer of 2015

24 August, 2015

Medrie Macphee working on All That Jazz in her studio, 2015.

Medrie Macphee working on All That Jazz in her studio, 2015.