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Written & Photographed by Kenn Sava
Jordan Casteel, Yvonne and James II, 2021, Oil on canvas, 90 x 78 inches. Seen at The Met, June 18, 2022.
You’re a Painter. You’re 32. Your Yvonne and James II was bought by The Metropolitan Museum of Art. It’s now hanging directly opposite Kerry James Marshall’s Untitled (Studio), 2014, one of the show-stoppers in the blockbuster Kerry James Marshall: Mastry in 2017, in The Met’s largest Modern & Contemporary Art Gallery, #915. If that’s not a “Wow!,” what is?
The Baayfalls, 2017, Oil on canvas, 6’6 x 7′ 6, seen at MoMA, August 27, 2022.
Not enough? Your Painting, The Baayfalls, 2017, Oil on canvas, 6’6 x 7′ 6, Painted at about age 27, has a wall to itself on the 2nd floor lobby at MoMA, where it is part of their permanent collection.
The Baayfalls, Paint on wall, the High Line Mural for 2019-20. Yes, the trees have gotten bigger since I showed them in my Barbara Kruger piece. I LOVE trees, but move them, please.
Then, there’s this- in 2019, The Baayfalls became the High Line Mural. Ed Ruscha, Kerry James Marshall, Henry Taylor and Barbara Kruger have had Murals up on this wall before Ms. Casteel, who was all of 30 at the time. Originally scheduled to be up for a year, due to covid, it’s still there as I write.
A very rare copy of the sold out catalog for Jordan Casteel: Within Reach is now impossible to find in any condition for less than $300.00.
A year after her Mural went up, her New Museum “Retrospective” (I’m not sure you can call a show of work by a 30 year old living Artist a Retrospective, but ok), Jordan Casteel: Within Reach took NYC by storm, although not many actually got to see it because it was closed for much of its run while the pandemic devastated the City and the world. Be it through the show’s terrific catalog or its online presence, viewers got the point. The word was out.
Can you say, PHEW!? Not since the day of Jean-Michel Basquiat has a young Painter risen so far so fast. And, Jean-Michel never had a Painting of his acquired by The Met or MoMA (let alone both) during his lifetime before he died at 27. Ms. Casteel’s work was acquired by both when she was about 31.
Jennifer Packer, Jordan, 2014, Oil on canvas, 36 by 48 inches. Seen in Jennifer Packer: The Eye Is Not Satisfied With Seeing at the Whitney Museum, December, 2021.
Hold on- I’m not done with her C.V. yet! Buzz builds upon buzz. International shows followed. Last year, Jordan Casteel appeared in a Portrait of her done by her friend, Jennifer Packer, in one of the shows of the year, the Whitney Museum’s Jennifer Packer: The Eye Is Not Satisfied With Seeing. Ms. Packer Painted Jordan in her studio while they were both students at Yale in 2014. Then late last year, Jordan Casteel was named a MacArthur Fellow. She received what is called a “genius grant.”
I’m not sure anyone can imagine what experiencing ALL of this has been like for her. It’s unprecedented. Luckily, Ms. Casteel seems to have a great head on her shoulders. She decided to assess ALL of this then reassess her life and her direction. Horror of horrors, she decided to leave NYC and move to rural New York. NYC is such a big part of the Denver-born Artist’s Portraits, it’s helped her to already create one of the strongest bodies of them since Alice Neel. Like Ms. Neel, many of her subjects were found on the streets of Harlem. I wondered what direction they would now take.
Marisa, Isabel and Sage, 2022, Oil on canvas, 94 x 80 inches.
At Casey Kaplan on September 8th, I found out. In Jordan Casteel: In bloom, Ms. Casteel unveiled 9 new Paintings, each dated 2022 and each created since she relocated from NYC to “rural New York,” as the press release says.
Morgan, 2022, Oil on canvas, 90 x 78 inches.
The group consists of some Portraits, the genre she’s, perhaps, most associated with (Within Reach was exclusively portraits), and adds some Still Lifes and Landscapes to her range. Through them all, Ms. Casteel’s work is characterized by strength. Her line, her brushstrokes, and the character of her subjects, all exude strength. I continue to be captivated by the way she renders skin.
Sunset, 2022, Oil on canvas, 50 x 40 inches
Charles White, who had a way of making his figures larger than life- monumental, comes to mind. While Ms. Casteel’s figures often have a “monumental” quality to them, she has developed entirely her own way with rendering.skin. All the while, rendering the Black men she Paints non-sexually.
In bloom, 2022, Oil on canvas, 78 x 90 1/4 inches.
There’s also a “there/not-there” element in her work, how she leaves certain parts outlined and not detailed, going back to The Baayfalls, seen above. It takes some adjustment of the eyes on the part of the viewer to see the scene the way the Artist does, and it’s not something I can say I’ve seen many other Artists do regularly. Jennifer Packer uses it, too. Sometimes it occurs in Ms. Casteel’s backgrounds. In the landscape in bloom, above, it’s also seen in the middle ground.
Greg Tate said Jordan Casteel captures the soul of her subject. When I look at her work I see Painting that is “old beyond its years,” and I don’t mean “early maturity.” The Artist is able to recognize subjects who make compelling Portraits, then uses her skills to reflect the appearance they present to the world and the essence, the strength, of their inner selves. The end result is pretty remarkable. Even her domestic scenes have a quiet power and self-assuredness. It’s a testament, I feel, to her subjects, and herself. At Casey Jordan, the 9 Paintings on view don’t seem to miss the City at all.
Damani and Shola, 2022, Oil on canvas, 90 x 78 inches. I haven’t measured, but the large size Ms. Casteel favors in her Portraits make her subjects pretty near life-size.
It’s waaayyyy too early in Jordan Casteel’s life and career to make predictions as to where she, or her Art, are going. So far, her work has struck a nerve with the Art-going public and an ever-increasing number of curators, which will lead, I believe, to her work finding a home in most of the major museums around the world that show Contemporary Art in short order. The bigger picture is only just starting to come into focus. Over and over, the name of Alice Need comes to mind when I think about Ms. Casteel’s Portraits. The first part of her post-graduate career saw her following Ms. Neel’s footsteps in a way in Harlem creating Portraits that feel ripped from life. Now, the Artist has moved on, perhaps wanting to separate herself from those comparisons? She’s her own woman and her own Artist, as her Casey Kaplan show reminds us. It will be utterly fascinating to see how she handles the attention, the pressure, the expectations and the demand for her work going forward.
Field Balm, 2022, Oil on canvas, 36 x 30 inches.
I don’t see any of that ending any time soon.
*- Soundtrack for this piece is “Hold On” by Alabama Shakes, the debut single from Boys & Girls, 2012.
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Written & photographed by Kenn Sava for nighthawknyc.com unless otherwise credited.
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