November 1, 2016
The exhibition “Going to Ground” includes over 40 paintings from over the past 30 years. The exhibition is accompanied by a catalogue featuring this essay by Jennifer Samet
Figure in Place: Paintings by Susanna Coffey
by Jennifer Samet
The recent work of Susanna Coffey synthesizes multiple dichotomies, including figure and ground; abstraction and representation; life and death; beauty and violence; male and female; skin and interiority; masking and individuality.
Three paintings in the exhibition are representations of Coffey’s late father. The earliest work in the show is “My Father is Sometimes a Mystery” (1980). This phrase is scrawled as text at the bottom of the painting. Her father’s face is shown in a form resembling a waning moon. The right half is in shadow, melting into dark painting ground. “Edwin R. Coffey” (2003) is a frontal portrait of her father, his head and shoulders set against a camouflage-patterned ground. The painting “Late Snow”(2012-15), although seemingly abstract, was inspired by a memory-vision of her father in a field.
Other paintings are more oblique, yet poignant references to her father. “Dad’s Camo Poncho” (1999) is a self-portrait, also with camouflage-patterned ground. More generally, Coffey’s explorations of landscape are rooted in childhood experience. Her father was involved in developing and building roads, so Coffey moved frequently with her family, and wandered through countryside that would have otherwise been inaccessible.
Coffey’s paintings become investigations of the inherent problem of portraiture: the capturing of likeness, versus showing “lifelikeness” – the spirit or feeling of a person. Coffey has continued to grapple with this question. She has taken it to the extreme of representing person and place in an entirely tactile and visual way — through the matter of paint itself, rather than image or text. They are metaphysical portraits.
Coffey probes the questions of difference between a person’s external and internal life, what remains hidden from sight, our connections to larger societal identity, what we become after death, our spiritual presence versus our material one.
In the last few years, Coffey has engaged with two media: acrylic spray painting using stencils, and slower-paced oil paintings. Her newest paintings bridge the media. This is one aspect of the idea of “Going to Ground” (the title of the current exhibition), where portraits are allowed to dissolve into ground and matter – visual manifestations of “dust to dust, ashes to ashes.”
In “Ringers” (2016), Coffey merges the two modes of painting within one portrait. A self-portrait in a backwards baseball cap is vertically mirrored by a vertebrae-like formation, rising from the more naturalistic head. It becomes the mask-twin to the self-portrait. Coffey used an enlarged ink-jet print of one of her spray-painted, stencil pieces to work from, to create the ground around the portrait, and the mask-twin.
“Late Snow” is densely worked, with a centrally and symmetrically placed blue-white form, textured like snow-covered earth. At the lower corners and sides we see touches of green and red peeking out from below. The painting has a “spine” – a subtle vertical line of whiter-white. It might represent a part of the landscape – the top of a small hill, or a path running through a field. However, the white line can also be read as a nasal skeleton, so that the painting reveals a ghostlike, obscured head and face.
These spinal, vertical forms can be found in several of Coffey’s paintings – the stencil works and also the more naturalistic portraits. They suggest common markers between human and non-human beings – skeletons, gene structures, and replicating strands of DNA. They suggest connections that run deeper than our daily lives.
Coffey recognizes that the visual flood we experience in our image-saturated culture puts us constantly in the position of existing in two places at once. Imaging figure and place is an opportunity to be in a place we are not. Here, that alternate place is metaphysical. It transcends the image we project of ourselves in the world, the surfaces we willingly share, and what we know of another.
December 30, 2014
Painters on Paintings Blog | Dec 29, 2014 | click here to view original post
The Terrace at Vernonnet, 1920-39, Oil on canvas, 58 1/4 x 76 3/4 inches
Metropolitan Museum of Art
Pierre Bonnard’s painting The Terrace at Vernonnet in The Met appears to be a scene of domestic tranquility and pleasure but if one looks more closely it might give pause. The picture brings us to a summery get together on a golden terrace above a shimmering blue/violet/green/pale yellow landscape. The canvas itself is about the size of a commodious dining table that Bonnard has set up for us, his unseen guests. When I accept the invitation its formal beauty extends, and move closer to this seemingly warm, sensuous work, it’s clear that something much colder is being suggested. While a narrative seems to be implied, it’s hard to determine what the story is. The work’s chromatic structure, gestural facture, loosely interlocking shapes and overall composition feel joyous and lyrical. His treatment of the figures, however, puts quite a few flies in its sweet ointment. Of the six figures on this colorful painted terrace only two are not seen as isolate. The story Bonnard’s characters tell is certainly not a happy one, no joy here. It is a curious work of art, and different from most of the other paintings in the galleries that surround it.
I am drawn to writing about The Terrace at Vernonnet because of its formal and narrative complexity. While it’s not my favorite Bonnard, it is one of his achingly real portrayals of home and hearth. It is also a picture with a narrative that defies an easy read; its formal and iconographic qualities seem to oppose one another. Bonnard’s terrace is a place that is at once both pleasant and unsettling.
Paintings like The Terrace at Vernonnet resist a singular interpretation. In contrast, a very different picture of a terrace hangs not far from Bonnard’s. Monet’s Gardens at St. Adresse (1867) in room 818 reveals a sunny, breezy day on a terrace by the sea. Here too are figures in the painting’s foreground, but this group seems to be on the terrace only to partake of its time and place. All Monet’s iconic and painterly elements demonstrate that the afternoon on this terrace is just as we see it, lots of light, sun and fresh air. People are present but a freighted psychology is not. It is a wonderful work but my heart lies with work that offers a more complicated visual and narrative experience.
Claude Monet, Garden at Sainte–Adresse, 1867, Oil on canvas; 38 5/8 x 51 1/8 inches
In the visual sense alone this Bonnard is illusive. His sleight of hand is that of the consummate formalist. ‘People always speak of submission to nature. There is also submission to the picture’, he said. If one looks carefully, the painting’s elements are cleverly organized, as in a Piero. Oranges, blues, violets, rusts, greens, and yellows are in high key. Pure color abuts, overlays or is feathered into color, with few grays or browns. We can see that the canvas is basically split into two zones, one mostly orangey and warm and the other where many kinds of cool colors dominate. (With all that chromatic contrast a black and white copy of will cause many of its elements to disappear.) Scrubby and semitransparent, the canvas’ facture is underlaid with faint pencil lines, which seem to wiggle up through the paint. One can clearly see the painter’s unique way with his tools; dabbing, scrubbing, coaxing the paint over the canvas surface. It looks fresh but we know that it was labored over for many years.
In the visual sense alone this Bonnard is illusive. His sleight of hand is that of the consummate formalist. ‘People always speak of submission to nature. There is also submission to the picture’, he said. If one looks carefully, the painting’s elements are cleverly organized, as in a Piero. Oranges, blues, violets, rusts, greens, and yellows are in high key. Pure color abuts, overlays or is feathered into color, with few grays or browns. We can see that the canvas is basically split into two zones, one mostly orangey and warm and the other where many kinds of cool colors dominate. (With all that chromatic contrast a black and white copy of The Terrace at Vernonnet will cause many of its elements to disappear.) Scrubby and semitransparent, the canvas’ facture is underlaid with faint pencil lines, which seem to wiggle up through the paint. One can clearly see the painter’s unique way with his tools; dabbing, scrubbing, coaxing the paint over the canvas surface. It looks fresh but we know that it was labored over for many years.
The Terrace at Vernonnet (Black and White Image)
Bonnard began The Terrace at Vernonnet in 1920 at his home/studio near the Seine about forty miles northwest of Paris. In 1926 he and Marthe Méligne, his model and future wife moved to Le Cannet on the Cote d’Azur. It was there in 1939, thirteen years after he had relocated south that he completed the painting. His northern years saw an affair with Renée Monchaty, a young artist/model, begin around 1918 and end with her suicide in 1925. Monchaty was a subject for several of Bonnard’s works, (most of which were destroyed at Marthe’s insistence). I believe that this affair might have something to do with the strangeness of The Terrace at Venonnet’s. This biographical information tells us that while the artist certainly drew from observation, the facture of memory served as one of his most important sources. The painting lets us know that Bonnard was not illustrating events from his life; it has sources that can be traced but they only lead us back to the work’s mystery.
Domesticity is often said to be Bonnard’s subject. His work has often been derided as not being tough enough to be great (it’s easy to see the sexism behind this categorization). I remember critics like Clement Greenberg and Peter Schjeldahl using words like “limp” (Greenberg) or “fussy” (Schjeldahl). For me he is like a late Titian (think The Flaying of Marsyas), one of the very toughest artists, hard to copy or follow. The ambivalent condition of the domestic sphere is what I see as his work’s subject, like Proust to whom he is often compared, or Murasaki. It seems silly to categorize motifs of home and family as superficial, what would Euripides, Shakespeare, Woolf or Morrison have to say about that? Bonnard’s radiant, lyrical, light saturated composition has all the glamour, tragedy and ordinariness of life as lived. Why would a Picasso admire a Bonnard, who paints a world without heroes? Bonnard’s edenic scenes seem in perpetual, undramatic states of rising and falling, at once lucid and obscure. Like Picasso, his muses were often women. Bonnard’s muses, however, inspired very different protagonists, ones usually submerged in and obscured by the places in which we find them.
Who hasn’t experienced an “at home” like The Terrace at Vernonnet? Perhaps on a sunny summery day we are invited to an intimate get together on the warm veranda of a golden house surrounded by woods, rivers and fields. But after we arrive and look around we may start to wonder. Are these people as inviting and lovely as this place? OR is it also possible that we are entering into a Long Day’s Journey Into Night kind of afternoon? Are my hosts really enjoying this luminous day? It’s hard to say, since it’s not so easy to approach this group. All of them are standing behind both table and tree. The view from our side of the big mauve tree is somewhat voyeuristic. And let’s see, of the six figures on this terrace only an indistinct couple towards the left are engaged with one another. What’s up with the other four? The tiny man in green/blue (Bonnard?) is standing on the far end of the porch, he faces outward (at us?) and there is no sign that he is interested in anyone within this ménage. A woman, the largest most central figure (our hostess?) stands in the shade behind a light dappled table. The tree’s violet trunk bisects the whole of this scene from top to bottom and separates her (as well as the other female figures) from the tiny man and the couple. She and her dress are reddish and orange like most of the house and deck, but darker. Set off by the deep blueish shrubbery behind her, her torso almost seems to be set upon the orange dish before her. Her lower body can’t be seen at all; at this party we can’t see anybody in full figure.
Right in front of us at the canvas’ center is a round table, its blocky shape measures about half the width of the whole picture. The table is empty except for a platter of fruit (peaches and green figs or grapes), a small blue dish (that anchors the composition’s lateral center), a dark green bottle and a few blue grapes. Where are the glasses? Plates? No drinks for us I guess! Perhaps we have missed the cocktail hour? Alone, the woman at the table faces forward but like the mysteriously tiny figure in the background, she is focused neither on us nor anyone else here. She seems to be in her own world. And what is she holding in her hand? It could be a piece of fruit but it also might be a ball, which would perhaps explain the tennis racket I think I see in the upraised hand of the figure furthest to her right. Or is it a hatchet? That figure, also in a golden orange light is said (on the wall label) to refer to The Dying Niobid . (In other works of his, like The Red Flowers of 1927, that same reference is apparent.) I’ve also read that this pose is transcribed from The Louvre’s Roman statue of a soldier slaughtering a Gaul. In any case, death may be lurking about our golden girl. To the right of our hostess and turned toward her, is a smaller woman dressed in dark blue holding a basket of purple plums at arms length. She bends over the basket (which one might notice could nicely contain our hostess’ head). Almost fading into mottled blue/green foliage, she is not going to look at us or at her fellow guests. Maybe she is just passing through, exiting stage left? or will she offer her fruit to the woman at the table? It’s not clear what she offers but if we want anything to eat she might be our only hope.
Most puzzling of all is our racket-wielding figure. She is positioned behind a bench that angles in from the lower left corner and in front of a wall that almost reaches the top of the painting. Perhaps a youngish woman, and looking very much like Bonnard’s portraits of Renée, she too is dressed in orange. Her amber coloration is so like the hue of the wall that she could be seen as transparent. Torso poised at an angle, she seems to be moving towards the left; an upraised arm seems ready to strike out with whatever it is she holds. But who or what is within her reach? If she is aiming her tennis racket where could the ball be? Let’s just stay out of her way! Whether inspired by Niobid or a Roman warriorette there is violence in the history of her pose.
There are two more figures to be seen. They can be found beyond the terrace and fields behind the garden’s slender reddish tree. Almost obscured within the silvery-yellow band that is the river Seine we can glimpse these miniscule boaters who are too far away to be guests at the party. One might even envy their peaceful location within this scenario. Shall we stay? It is such a beautiful place; the house and grounds are gorgeous, breathtaking really. However, my guess is that our chances of having a good laugh, making a new friend, indulging in a good feast or engaging in sparkling conversation are pretty slim. Even on such a lovely day it’s hard to predict how things might go.
Susanna Coffey, Oh Day, Verge and Bow, 2013, Acrylic on panel, 14 x 12 inches
 Terrasse, Antoine, Bonnard: The Colour of Daily Life, London: Thames & Hudson, 2000 p.107
 Greenberg, Clement, “Review of an Exhibition of Pierre Bonnard” The Nation, 12 June 1948
 Schjeldahl, Peter, The Village Voice, 28 July 1998
 “Don’t talk to me about Bonnard,” he once said. “That’s not painting, what he does. He never goes beyond his own sensibility. He doesn’t know how to choose. When Bonnard paints a sky, perhaps he first paints it blue, more or less the way it looks. Then he looks a little longer and sees some mauve in it, so he adds a touch or two of mauve, just to hedge. Then he decides that maybe it’s a little pink too, so there’s no reason not to add some pink. The result is a pot-pourri of indecision. If he looks long enough, he winds up adding a little yellow, instead of making up his mind what colour the sky really ought to be. Painting can’t be done that way. Painting isn’t a question of sensibility: it’s a matter of seizing the power, taking over from nature, not expecting her to supply you with information and good advice … that’s what I hold against Bonnard. I don’t want to be moved by him. He’s not really a modern painter: he obeys nature; he doesn’t transcend it.” Francoise Gilot Life With Picasso McGraw Hill 1964
 Dying Daughter of Niobe (Niobid), c. 450-440 BC, Rome Museo Nazionale, Palazzo Massimo. Found (1906 ?) on the Esquiline, Rome
 The Red Flowers, 1927, Oil on cardboard, Private Collection
 Hyman, Timothy, “Bonnard” World of Art, Thames and Hudson 1998, p113
“Arrogant Purpose, 1945-1949,” The Collected Essays and Criticism Vol 2, University of Chicago Press, 15 Feb 1988.
Greenberg, Clement. “Review of an Exhibition of Pierre Bonnard.” The Nation, 12 June 1948.
“Review of an Exhibition of Pierre Bonnard, and an Obituary of Arnold Friedman,” The Nation, 11 January 1947.
February 9, 2014
Gorky’s Granddaughter | Jan 26, 2014 | click here to view online
February 9, 2014
Hyperallergic | Feb 3, 2014 | by Peter Malone
Susanna Coffey’s paintings at Steven Harvey Fine Arts Projects make such leaps in appearance from one to the other that the installation at first sight resembles a group show. Known for her self-portraits, Coffey has apparently been subjecting her signature stare to a variety of technical and formal innovations. “Sharon’s Potion’s Breath” (2011) stands out.
Its image appears as a cluster of overlapping arcs ranging from iridescent yellows to blues and violets that together outline a skull-like visage in the upper half of the panel. The warm light it creates then sinks into the cooler spectrum below, suggesting along the way a pair of shoulders supporting the head. I was able to spy a secondary face in the lower section — only with the kind assistance of the gallery director — defined by a bluish light emanating irrationally from the warm glow above, the two occupying a strangely contradictory place, like a “hallucination,” as Jennifer Samet puts it in the accompanying catalog essay.
February 9, 2014
The Brooklyn Rail | Feb 5, 2014 | by Hearne Pardee
The sort of self-examination Susanna Coffey has practiced over the past three decades is far from the passive self-absorption often criticized in contemporary media. Her long practice of self-portraiture, which she expands significantly in this new group of small paintings, is an active investigation of cultural forms related to the self.
Coffey’s art is one of empirical observation, constantly varied based on the subject she contemplates. Like a teller of tales, she’s assumed varied guises over the past three decades, sometimes under dramatic lighting or extreme points of view, sometimes in flamboyant costumes or exaggerated make-up; she finds constant sources of invention in her own person and in the roles our society asks us to play. Yet as a true painter who works from observation, she finds ongoing inspiration in whatever light a new day brings to familiar features. Nuanced yet dispassionate, her paintings are grounded in the materials at hand.
Coffey’s understated style can best be appreciated in the delicately rendered “James’s Woman’s Skull” (2011), which serves as a sort of anchor for this wide-ranging exhibition. She brings a tactile immediacy to her treatment of the skull’s lustrous surface, but without any showy display of technique; it’s centered, frontal—no compositional theatrics. In “Yammy” (2012), she treats with equal respect a mask from New Guinea, used to adorn five to six foot long yam tubers to indicate their participation in the life of the tribe. Painterly touch is central to these small-scale works, about the size of hand-held mirrors; it animates their subjects and their enveloping space, which begins to assume a material presence.
This basis in specifics serves Coffey well in the more ambitious psychological exploration she undertakes with the works in Elemental. In the past, she has often used the background as a way to add psychological inflections to her portraits, most dramatically during the Iraq War, when she depicted her head with eyes closed in front of televised images of the bombing of Baghdad. Here, the backgrounds increasingly encroach on the heads. In “Green” (2013), as though submerged in a forest floor, Coffey’s face is partly covered by fronds of evergreen, which delicately touch her lips, while the deeply shadowed head in “Rest Stop” (2013) evokes her recent series of night paintings, in which the overall darkness supplies a matrix for emerging forms.
The obscured self-images, along with Coffey’s invocation of elemental forces, take the works in an increasingly abstract and Jungian direction. “Takenage’s Division” (2011) alludes to Monet and the familiar trope of reflection in water. Shifting from the mirror to the natural world, the self-image is lost in dark depths; we seek shadowy traces of eyes and lips in the ripples around the familiar axis of symmetry. Water is the locus of Narcissus’s self-loss, and the spreading hair and blue background of “Headstand, Earle’s and Locke’s” (2012) suggest Ophelia adrift, another archetype of self-abandonment.
“Oh Day, Verge and Bow”(2013), apparently an allusion to fire, takes us into very subjective territory indeed. We peer through cloudy layers of sprayed orange paint into darker spaces where luminous touches of pigment suggest features, suspended between surface and depth. In recent works, Coffey used “Apophenia” as a title, a tendency to see patterns in random data, linked to psychological disassociation. Yet there’s a constructive process at work in this dissolution, coming from Coffey’s use of forms abstracted from the head—the waving tendrils of hair that supply the framework for “Sharon’s Potion’s Breath” (2011), like a pattern of facial tattoos, or the isolated shapes stenciled with spray paint applied in layers to “Merciful he/she” (2013). Coffey takes inspiration from the codified elements of African sculpture, and here she resorts to a process founded in this external construction of identity, as though to counter the dissolution of the self in Western naturalism. Can Coffey remain grounded as works like “New Friends with Old” (2013), distanced from direct touch, get larger?
But Coffey doesn’t reach for grandiose conclusions—while there’s a strong romantic element to her self-exploration, there’s also a matter-of-factness to her deployment of visual elements and strength in their compression. She doesn’t appeal to universal truths or deep structures, but settles for what can be grasped and rendered. If bringing life to materials through painting from observation is a sort of conjuring, then she indeed extends the tradition of magic that intrigues her in African art. But she entertains multiple cultural possibilities, and her small paintings take the viewer on a wide-ranging ride through visual and psychosocial space. On their modest scale, they aspire to the encyclopedic “anthropology of images” proposed by last year’s Venice Biennale.
December 23, 2013
Susanna Coffey, Elemental
January 8 – February 9, 2014
Opening: January 8, 6–8 pm
shfap | steven harvey fine art projects |
208 Forsyth Street New York, NY 10002 |
Weds – Sun 12 – 6pm
Steven Harvey Fine Art Projects presents Elemental an exhibition of recent paintings by Susanna Coffey. This is her second solo show at the gallery—her Nocturnes were exhibited at SHFAP in 2012.
In this exhibition, Coffey reexamines a subject that has concerned her for decades: the parameters of the self-portrait. What does the ‘self’ look like, what are its boundaries, and where can it be seen? Paintings from the last three years employ differing approaches to producing an image of self. We see faces encoded in landscape and ultimately dissolving within the facture of painted surfaces.
Apophenia describes the phenomenon of seeing faces in clouds or hearing words in the wind. Upon first encountering these works, it is not immediately apparent that they contain faces at all—the subject is camouflaged in patterns of color or lost in watery and verdant landscapes. Coffey’s portraits seem to grow roots; they are entangled, literally inseparable, from their grounds. As Coffey explores the rich psychological space between self and mirror, meaning becomes located in the tension between what is made visible and what is obscured.
Coffey’s gestural lines and evocative tonalities vibrate with human energy and complexity. Her vibrant textured surfaces display a painterly exuberance – she seems to delight in the difficulty of this project. Coffey’s ability to evoke a range of political and spiritual states calls to mind one of her influences, the rich symbolic language of West African figurative sculpture.
Coffey’s self-portraits stand in for individual or collective states of being. In these paintings, one begins to sense one’s own reflection. They reveal an artist coming to terms with what is being done in her name; they ask what are the boundaries between self and society? In the artist’s own words: “I think about the interconnections between people. Like how Aspen trees have a common root system. They look like they are different trees but they are all the same, really. Differences are maybe not as fascinating as similarities. Similarities are never exact, but they are beautiful.” Steve Locke wrote that, “Coffey is painting a new kind of space… She is painting the interference, the attitudes, the obfuscations between the understanding of the self. “
Coffey’s paintings were surveyed at the New York Studio School in 2008. Her work is included in the collections of The Boston Museum of Fine Arts, and The Art Institute of Chicago, The Indianapolis Museum of Art, The Akron Museum of Art, The Weatherspoon Art Museum, The Honolulu Academy of Art, The Minneapolis Museum of Art, and The Museum of Contemporary Art, Seville, Spain.
The exhibition is accompanied by a full color catalog.
July 14, 2013
Click Here to read and interview with Susanna Coffey by Jennifer Samet at Hyperallergic
June 12, 2013
Friday, June 21, 6:30–7:30 p.m.
January 30, 2013
National Academy Museum / January 31 – May 5
1083 5th Ave at 89th Street
New York, NY 10128
Susanna Coffey will be exhibiting at The Annual: 2013, a tradition at the Academy since its founding in 1826, the exhibition includes work by recently elected Academy members and highlights their important contribution to American culture.