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Written & Photographed by Kenn Sava

Show seen- Cecily Brown: Death and the Maid @ The Metropolitan Museum through December 3, 2023.

The show’s opening brought me to a dead stop. Click any image for full size.

Over the course of its generous run, from April 4th through December 3rd, Cecily Brown: Death and the Maid  has had some VERY serious competition among great Art shows up in NYC’s museums for Art lover’s attention this year. Consider- MoMA had the excellent Georgia O’Keefe: To See Takes Time (April 9th through August 12th), and now the equally excellent Ed Ruscha / Now Then (September 10th through January 13, 2024). The Whitney has Henry Taylor: B Side (October 4th through January 28, 2024). In addition to Death & The Maid, The Met had its summer blockbuster, Van Gogh’s Cypresses (May 22- August 27), and the just opened Manet/Degas (September 24th through January 7, 2024). Phew! While all of them deserve mention as “Show of the Year” candidates, in my opinion, Cecily Brown: Death and the Maid is the biggest breakthrough Painting show in a NYC museum since Jennifer Packer: The Eye Is Not Satisfied With Seeing, 2021-2, which I wrote about here. It provided the first opportunity we’ve had to see an overview of her work outside of books. Seeing 50 of her Paintings, Drawings, and Monotypes in person left me feeling that the show is a game-changer that will rewrite the Art world’s appreciation of Cecily Brown’s Art & her standing in Art– even though both are well-established. Her diligence and continual hard work over the past 25 years has paid off in spades. The fruits of her labors explode on the walls.

Time passes slowly. Painted during the initial outbreak of the pandemic, the stunning Selfie, 2020, Oil on linen, kept me transfixed at the entrance as minutes passed, mirroring in a small way the time the Artist spent creating it. In fact, mirrors are a key, recurring, element in the show. Anchored by the reclining figure to the right, and the vanity with the round mirror to the right rear, the whole has a feeling of claustrophobia, from too much time spent in the same place that every last detail becomes all-too-familiar. It’s perfectly chosen to begin the show in my view (or, end the show, depending on which end of the show you enter from) as it sets the stage for (or culminates) a show that covers about 25 years and includes very recent work.

One night in 2004, I met Cecily (who was born in London in 1969) when she and a date happened to sit down next to me at East of Eighth, the now-lost Chelsea bar/restaurant/Mother Ship on West 23rd Street a few doors west of the legendary Hotel Chelsea. At that point, the buzz around her was just forming. Days earlier, I had read an article about her in the Art press intrigued by the fact that she is David Sylvester’s daughter. Mr. Sylvester will always be remembered by Art history for being the interviewer in what is, perhaps, the most important Artist interview book yet- Interviews with Francis Bacon, (one of my Desert Island Art Books). A book that helped form my long-standing obsession with Mr. Bacon. It was right in the middle of my decade of drawing (small “d”) daily, which I was when she sat down. Recognizing her from the article, I quickly put my sketchbook away. I told her I had read the article and we chatted briefly, then I let her get back to her date.

No You For Me, 2013, Oil on linen. The viewer looks into the mirror on a vanity at a figure in a room. It appears there’s a spanking going on. Perhaps as close as Cecily Brown comes to the realm of Francis Bacon isn’t that close at all.

I regret I didn’t get a chance to ask her if she met Bacon. Cecily’s Art has been influenced by his, I’ve read, and they both seem to me to be on the cutting edge of “abstracting” the portrait, yet the influence might be in spirit as opposed to a direct visual or stylistic influence as far as I can see. As many have pointed out, Cecily Brown lives on the edge between abstraction and figuration, more or less. Whereas “pure abstraction” leaves nothing “familiar” for the viewer to hold on to, Cecily Brown usually does, even if it’s just the title. In the work included in the show I felt there were “handles,” so to speak, in virtually all of the pieces that lead the viewer into her world.

Francis Bacon, Seated Woman, 1961, Oil on canvas, which sold for $28 million in 2015, Oil on canvas, seen at Skarstedt, June 24, 2022.

In Bacon, the world (through his eyes) is represented to an apparent larger extent, but then the figure or figures are rendered with a selective fluidity that allows the Artist to mould them to his intentions. This often makes them seem out of place in their settings. In Cecily Brown’s work, even though many of her works depict interiors, there is no stylistic difference. Everything is rendered as part of the whole.

The moment I realized Cecily Brown had arrived as a Painter to be reckoned with. A Day! Help! Another Day!, 2016, Oil on linen, 109 x 397 inches (that’s just over 33 FEET long!) seen in Cecily Brown, A Day! Help! Help! Another Day!, Paula Cooper Gallery, October 31, 2017.

Since 2004, as I’ve followed her career and gone to her shows, her work has grown, and grown on me, continually. The record shows I’m not alone in that. Though she quickly gained major gallery representation, and shows in European museums, it seems to me the Art world has been slow to fully “get” her, like here, as incongruous as that may be to say for an Artist who has achieved her stature.

Sketchbook, 2004, Oil pastel, ballpoint pen and pencil on paper, from the year I met her. The image on the left is at the heart of the show. A woman embraces a skeletal figure, whose knee is between hers. Possibly a copy of Edvard Munch’s Death and the Woman, 1894-5, a Print in The Met’s collection, here, this motif appears in Cecily’s recent Painting Death & The Maid, 2022, shown below, revealing how long this subject has been on the Artist’s mind.

Early on, her work was quite sexually oriented, then it steadily opened up. As it did, more and more people began to see the breadth of her talent. The real turning point for me came on October 31, 2017l, when I walked into Paula Cooper Gallery and was face to face with A Day! Help! Another Day!, seen earlier, in Cecily Brown: A Day! Help! Help! Another Day!

Death & The Maid, 2022, Oil on linen. The title of the famous String Quartet #14 by Franz Schubert, “Death & The Maiden,” is shortened here to “Maid,” possibly as a reference to Ms. Brown’s time working as a maid to pay for Art school. The center of her Painting shows the titular figures embracing and Death’s leg extending to the left, climaxing the influence of Munch’s Death and the Woman, as seen above. “Death & The Maiden” is also the title of a Painting by Albrecht Dürer’s remarkable student & friend, Hans Baldung, from 1517, which can be seen here. That might be the earliest use of the title.

In April, almost exactly 19 years after I met her, Cecily Brown: Death and the Maid opened in the hallowed halls of The Metropolitan Museum, in the same gallery I saw Louise Bourgeois: Paintings in, an interesting coincidence (two European-born women Artists who settled in NYC for good a half-century+ apart). Having moved to NYC in 1994, after winning a plane ticket, it’s the first show she’s been given by an NYC museum. I think she might say the wait was worth it.

Installation view with The Picnic, 2006, Oil on linen in three parts, center, on the wall.

Brilliantly selected from the past three decades and installed (with the involvement of the Artist), it all hangs together seamlessly. Though her style has evolved over the years of her still-young career, the show really does all look like part of a whole. This is aided to no end by the continuity of themes- vanity, death, interiors, and influences & dialogues with Art history.

Full of Face, Full of Woe, 2008, Oil on canvas in three parts. With a title that comes from the “Monday’s Child” nursery rhyme, it’s the first Cecily Brown Painting in The Met’s Permanent Collection. It captivated me when I first saw it last year in the Modern & Contemporary Galleries, and again in the show. Note what appears to be a woman looking in a vanity mirror in the left panel.

The first thing that was apparent to me is how her work looks like no one else’s. She has achieved a style instantly recognizable as Cecily Brown. A major achievement in its own right. The second thing that stands out for me is how deeply and continually she mines Art history. There are references to Munch, Bruegel, Manet, Rubens, Hogarth, Gilbert, Frans Snyders, Dutch & Flemish Still Lifes, among others here, but the resulting work is completely her own no matter the origin, and provides for an interesting “conversation” over time. Filtered through a different viewpoint, experiences and century into nothing less than a striking personal vision, one that strikes me as unprecedented, though I do see a kinship to the work of her teacher, Maggi Hambling and occasional echoes of the late-50s work of Janice Biala.

Blood, Water, Fruit and Corpses, 2017, Oil on linen.

“My red is so confident he flashes trophies of war
And ribbons of euphoria
Orange is young, full of daring
But very unsteady for the first go ’round
My yellow in this case is not so mellow
If fact, I’m trying to say it’s frightened like me
And all of these emotions of mine keeps holding me from
Giving my life to a rainbow like you.” *-  Jimi Hendrix, “Bold as Love”

The third thing that’s instantly apparent is her color. For the past eight & 1/4 years, I’ve posted a piece of Music as the “Soundtrack” for each piece I’ve written here. As I walked through Death & The Maid, one song screamed at me from the walls: “Bold as Love” by Jimi Hendrix.

“Bold” sums up much of Cecily Brown’s work for me. In her daring and boldness lies energy and excitement.

As for “Bold as Love,” Hendrix “paints a vivid picture of the spectrum of human emotion using colors,” as genius.com puts it. Virtually every color Jimi writes about is powerfully featured at one point or other in the show. I’m not saying this is a literal interpretation, of course. It’s a reflection of the power of color as a language. The choice is not as arbitrary as it might seem. In the early years of the past decade, Ms. Brown was so taken with the cover image for Jimi’s 3rd album, Electric Ladyland, the last album he completed in his lifetime, that she did a series of Paintings based on the original cover Photo for the U.K. release that was banned for its U.S. release.

All is Vanity (After Gilbert), 2006, Monotype

Cecily Brown’s color strikes me as being that of life. Of being alive. As Adrian Piper pointed out in her brilliant MoMA show, A Synthesis of Intuition, in 2018, “Everything will be taken away.” In death, the colors of life are one the of the first things taken away. Here, it runs as a consistent and compelling counterpoint to the theme of death. It’s interesting that in some of the work that seems to be more centered on death (not all), the color is washed out.

Untitled (Vanity), 2005, Oil on linen

The other thread is the the face/the temporality of youth/and the body (which takes many forms, including the frequent “looking in a mirror” works). Of course, any living body must confront the idea and the reality of death. In the show, it’s the central focus, but it has been one of her central themes, among others, virtually all along. This makes her unique among major Contemporary Painters. While many address it, I can’t think of anyone who makes it a main focus. The show is also interesting for a virtually complete absence of her earlier sexual work.

Vanity Shipwreck, 2021-2, Oil on linen

On the technical side, her compositions, she says, come together in the making. In a number of pieces, figures are in the center, and everything else happens around them. The same feeling occurs in Selfie, though the figure is in the lower corner, and in pieces like Carnival and Lent, below, where bits of figures pop up all over, virtually awash in all that surrounds them. “Abstraction?” What could be a more realistic representation of the chaos of contemporary life where everyone is continually bombarded from all sides, by everything?

“You start with something that’s say, a day old, and then you look at the different directions it can go. And in a way, you can argue that you’re never losing anything, because you try and always keep those things in mind. You have to be willing to lose it all. And that really does happen all the time in painting. And I always want to keep that possibility, just to go back to what kind of painter I am. That’s what I call being a painterly painter, and what’s kind of old-fashioned about it is that attitude that you can lose it all….the paint itself telling the story. The idea that paint can carry or contain a sort of life of its own. Paint traps energy¹.”

Carnival and Lent, 2006-8, Oil on linen. Cecily Brown’s take on Pieter Bruegel the Elder’s Fight Between Carnival and Lent, 1559.

I’m struck by the fact that Jackson Pollock could only do his so-called “drip” Paintings from 1947-1952. Ms. Brown has been working in, and developing her style for almost 30 years. Then, there’s her technique, her brushwork. Whereas she said that “Paint traps energy,” her brushwork brings it. 

Detail.

It seems to me that the recent pieces included in Death and the Maid (particularly Selfie, the titular work shown earlier, and A Year on Earth, below) show her reaching a new level. Though her work probably looks very abstract to many viewers, including this one, almost all of them have titles that ground them in the “known world,” separating her from many abstract Artists (though she is not one. Cecily Brown’s work only belongs in the Cecily Brown “box“) who use “Untitled” most often. Titles which function as one of the “handles” I referred to earlier,

A Year on Earth, 2020-21, Oil on linen. Begun in the early months of the pandemic.

Mounted near the end of the show, it could be just me and my life these past 4 years, but I found her Painting BFF incredibly moving.

BFF, 2006-15, Oil on linen.

The wall card explains that Cecily’s teacher, the Artist Maggi Hambling, “once told her to make painting her best friend, as it would always be there for her.” It seems to me that’s not only true for the act of Painting for Painters, but also in the act of looking: Painting is always there for everyone!

There’s a feeling Cecily Brown: Death and the Maid gave me that made me just not want to leave it. I’ve thought about what that feeling is and why I had it since I did leave (to go see the gigantic Manet/Degas show- about 12 galleries worth!). One thing I can say is that it’s a feeling I live for. It’s not only being in the presence of great Painting- there’s plenty of that on view in Manet/Degas as well as everywhere in The Met. It’s the excitement of being in the presence of something alive, pulsing with energy and color with a vibrancy that jumps off the wall- and a lot of it! In Death and the Maid we get a first chance here to play catch up and take stock of 25 years of Cecily Brown’s Art and accomplishment, while getting set up to watch where she goes from here. That’s exciting, too.

This May, I ran into Cecily, again, when we were both leaving the opening of Rosa Loy’s wonderful new show (separately, of course), though I didn’t get the chance to speak to her. It said a lot to me that she was out and about seeing Art, even while her own show was up on the walls at 1000 5th Avenue. I took it as a sign she’s not slowing down or resting on her laurels; she remains fully engaged in the Art world around her, which has inspired her all along.

In the end, you just never know when that person who happens to sit down right next to you one night is going to wind up being one of the world’s major Painters less than 20 years later.

*- Soundtrack for this piece is “Bold As Love,” by Jimi Hendrix from his immortal album Axis: Bold As Love.

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