233:," makeup tutorials, body painting and bodybuilder selfies. Critics have likened her position toward this subject matter (and her own output) as that "of a disinterested anthropologist" situated between fascination and critique. Her work engages the power of "high" and "low" cultural images and their effects on selfhood, offering uncanny or unsettling visions of digitally mediated life marked by a mix of shamelessness and self-abasement. She often blurs categories and genres in mashups of art history, kitsch and the body, for example, the painting
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them as "repulsive and alluring," and "enticing and abject" according to reviewers. In a similar way, Beaver's painting technique calls into question (mostly male) painting traditions, even as it invokes them. She uses acrylic paint—associated with modern flatness and matte texture as opposed to oil's richness— and paints in an intentionally clumsy manner with thick, relief-like protrusions that rejects both mastery and illusionistic depth.
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415:, Mondrian and others) and consumer culture motifs. Roberta Smith wrote, "These works conflate all kinds of self-improvement and adornment projects: makeup, tattoos, cosmetic surgery and nail art as well as fandom and celebrity-worship. Their blaring billboard power from afar is countered by a squirm-worthy intimacy up close."
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The discrepancy between
Beavers's bulging, rough matte forms and their often-slick screen-based sources highlights the gap between digital exemplars and messier, physical lives. Furthermore, her paintings often undermine the original intent of snapshots to be appetizing, appealing or sexy, rendering
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Beavers re-endows ephemeral digital images with sculptural heft and tactility built by piling dense accumulations of acrylic paint and medium, foam and other materials. Critics connect this emphasis on materiality and the body to painterly, carnal traditions of oil painting extending back to artists
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By 2010, Beavers had begun experimenting with ways to incorporate a sculpted, handmade element into her work and turned to the internet and social media as sources of imagery. This new work brought her early critical attention through group shows in and around New York City and solo exhibitions at
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The expressive, impasto acrylic paintings in
Beavers's first two solo exhibitions in 2012 were grounded in awkward, social-media photographs involving bodybuilding and body painting, with titles frequently derived from captions or comments that originally accompanied them. She recreated them as
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In subsequent shows, such as "World War Me" (2020), Beavers examined identity and the ubiquitous presence of the female face and body in art and advertising through the lens of a fractured social-media self-consciousness craving recognition and popularity. Her boldly painted reliefs depicted
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critic Sharon Mizota suggested that the thickly built, sticky accretions undid the gloss and sense of effortless glamour of their digital sources, operating "somewhere between critique and affection" and aesthetic and didactic objects to "cinematic and thoroughly surreal" effect.
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found using hashtags such as #foodporn, #sixpack and #makeuptutorial. Her later work has continued to recombine these recurrent subjects, as well as explore memes, irreverent conflations of genres or art history and kitsch, identity, fandom and celebrity-worship. In 2019,
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Beavers returned to the body in the exhibitions "Re-Animator" (2014) and "Popography" (2015) with mostly square, often gridded paintings that matched typical formats of
Instagram. In subject matter, they focused on cosmetics how-tos for "sun-kissed lips" and "smoky eye"
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critic Martha
Schwendener described her paintings as "canny statements on contemporary bodies, beauty and culture … tackle the weirdness of immaterial images floating through the ether, building them up into something monumental, rather than dismissing them."
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wrote that
Beavers "exaggerated and satirized both the act of painting and the fetishization of food by professional photographers and hungry diners … captur certain extremes of indulgence that verge on gross." She and others connected the paintings (e.g.,
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In her exhibition of the same year, "Palate" (the title a homophone for "palette"), she turned to small, low-relief works based on online food photography. The depictions ranging from marbled meat, oysters and shellfish to less exalted offerings (e.g.,
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Beavers's work is frequently regarded as being two-fold in nature: concerned both with fetish-like social media preoccupations involving the body and identity and with painting itself as a subject—its cultural status, unique qualities and limitations.
432:. She presented "Pastel Looks" in 2022, a show of flat pastel drawings that reviewers noted still managed to convey her characteristic sense of depth. The drawings focused on grids of lipstick tutorials and nail and food images, such as the humorous
397:(2013); reviews noted in the work and show's portmanteau title a contemporary attitude positioned ambiguously between female self-affirmation and ruthlessness. In "Tennis Ball Yellow" (2017), Beavers presented large-scale relief paintings of
264:. They suggest that her translations of digital imagery subject them to the logic of painting, introducing notions of singularity and temporality while divesting them of inherent qualities such as similarity, ubiquity and reproducibility.
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In later shows, Beavers has introduced new subjects alongside recurrent ones. The exhibition "Ambitchous" (2017) juxtaposed makeup tutorial images with carnivalesque instructions for dressing up as cartoon characters such as
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In subsequent years, Beavers has had solo exhibitions at
Michael Benevento Gallery (Los Angeles), GNYP Gallery (Berlin), Carl Kostyál Gallery (London and Stockholm), MoMA PS1 (the 2019 survey, "The Life I Deserve") and
104:(born 1974) is an American artist based in the New York area. She first gained attention in the early 2010s for thickly painted, relief-like acrylic images of food, cosmetics techniques and bodybuilders
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s
Jonathan Griffin observed, "In Beavers’s paintings, the body is often conflated with the artwork, soliciting the gaze of others but also anxious to control it or deflect it through illusion."
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James
Fuentes Gallery and Clifton Benevento in New York, among others. Her inclusion in the 2015 MoMA PS1 "Greater New York" show increased this level of public recognition.
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Beavers bases her paintings on snapshots from social media subgenres that embody contemporary modes of consumption and desire defined by excess and differentiation: "
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jarring, close-up reliefs of grotesquely muscled male torsos, bulging female breasts and bodies covered with images of animals or art-historical motifs (
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objects that positioned "paint's materiality as a metonym for that of the body's, making the latter seem cadaverous by comparison," as in
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enlarged, often repeating features (lips, hands, fake nails), faces and torsos in bikini underwear flaunting art-historical (Van Gogh,
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244:(2016), grotesque image combinations (burgers and vaginas, cake and butt cheek), or pats of paint on a palette formed into cupcakes.
403:-formed paintboxes and sports balls that popped out from light-pink canvases lined like sports fields and pouting grass-green lips (
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and received a BA in studio art and anthropology in 1996. She initially painted in a cartoonish, narrative vein, but turned to
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For the Seoul exhibition, "Passionaries" (2021), Beavers infused typical subjects with local flavor in
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Beavers' work belongs to the public collections of the
Institute of Contemporary Art Miami,
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201:(Germany). She has also appeared in group exhibitions at the FLAG Art Foundation,
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in 2005 and taught art at a
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1234:"Gina Beavers’s Sculptural Paintings Make Waves at Fairs and Auctions,"
1110:, London/Stockholm/Milan: Carl Kostyál, 2022. Retrieved March 24, 2023.
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1186:"The Art of the Feast: Understanding the Glorification of Gluttony,"
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436:(2022), which portrayed a hand with hot dog-decorated fingernails.
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Blumenstein, Ellen. "The Structure of Enjoyment on Instagram," in
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Fry, Naomi. "We Are All Kim: The Paintings of Gina Beavers," in
666:"What to See in New York Art Galleries this Week: Gina Beavers,"
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Gnyp, Marta. "#artporn – Painting in the age of social media,"
428:-themed works that referenced the 2019 film by Korean director
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791:"Gina Beavers Explores the Complexities of an Online Self,"
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Russeth, Andrew. "The 15 Hottest Artists of the Summer,"
357:, 2015) or straight-on, tightly cropped facial features (
313:) back to the messy sensuality of earlier work, such as
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Scott, Andrea K. "Gina Beavers at Clifton Benevento,"
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Smith, Matthew. "Le Sigh: Gina Beavers at Nudashank,"
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Chamberlain, Colby. "Acrylic and the Painterly," in
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described them as "less pictorial than topographic"
141:. Her work belongs to the public collections of the
1162:, April 17, 2015, p. C34. Retrieved March 24, 2023.
956:Horst, Aaron. "Gina Beavers at Michael Benevento,"
571:, October 8, 2020, p. C6. Retrieved March 27, 2023.
448:(Norway), Museum of Contemporary Art, Los Angeles,
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521:"Body Work: The relief paintings of Gina Beavers,"
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225:, acrylic on linen on panel, 48" x 48" x 9", 2021.
751:News. January 31, 2023. Retrieved March 24, 2023.
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1128:, Berlin: GNYP, 2018. Retrieved March 24, 2023.
838:, Berlin: GNYP, 2018. Retrieved March 24, 2023.
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974:"Ambitchous, GNYP Gallery in Berlin, Germany,"
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1041:"Among Friends: Three Views of a Collection,"
1009:"Gina Beavers joins Marianne Boesky Gallery,"
197:(New York), Various Small Fires (Seoul), and
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205:and Frans Hals Museum, among others.
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1025:"Gina Beavers, Various Small Fires,"
943:Saltz, Jerry. "Goulding the Lolly,"
735:, Artists. Retrieved March 24, 2023.
151:Institute of Contemporary Art, Miami
990:"Gina Beavers: The Life I Deserve,"
749:"MOCA Announces 2022 Acquisitions,"
913:"Gina Beavers, Clifton Benevento,"
566:"A Gallery Resurgence in Chelsea,"
446:Kistefos Museum and Sculpture Park
291:Food Porn! (Chicken & Waffles)
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376:Crotch Shots from the Getty Villa
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487:Gina Beavers, The Life I Deserve
1108:Gina Beavers: All My Addictions
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1321:20th-century American painters
854:"Gina Beavers with EJ Hauser,"
685:" Greater New York, MoMA PS1,"
346:American Flag Sponge Butt Cake
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1361:University of Virginia alumni
595:"Gina Beavers, Carl Kostyál,"
165:Beavers was born in 1974 in
139:KMAC Contemporary Art Museum
1279:Gina Beavers with EJ Hauser
135:Nassau County Museum of Art
32:1974 (age 49–50)
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199:Neuer Essener Kunstverein
717:"Food Shelter Clothing,"
203:Gavin Brown's Enterprise
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1083:"Gina Beavers: Palate,"
391:and Elsa from the film
195:Marianne Boesky Gallery
1289:Portrait: Gina Beavers
1269:Gina Beavers Interview
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485:Museum of Modern Art.
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420:Korean Fried Chicken
355:Maquillaje (Make-up)
242:as rendered in Bacon
1366:Artists from Athens
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702:Frans Hals Museum.
519:Griffin, Jonathan.
325:'s anthropomorphic
1232:Felsberg, Kaylie.
1160:The New York Times
1086:The New York Times
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155:Orange, New Jersey
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1283:The Brooklyn Rail
1255:official website]
1184:McLean, Matthew.
1155:Cotter, Holland.
993:The Brooklyn Rail
988:Kent, Charlotte.
945:New York Magazine
857:The Brooklyn Rail
816:, September 2016.
650:Los Angeles Times
618:Fiske, Courtney.
363:Los Angeles Times
131:Frans Hals Museum
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852:Hauser, EJ.
835:Gina Beavers
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106:appropriated
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23:Gina Beavers
1331:1974 births
888:"Draw Gym,"
440:Collections
44:Nationality
1315:Categories
767:Money Lips
460:References
382:Later work
331:Red Grooms
95:Applebees!
405:Lip Balls
361:, 2014).
296:Applebees
231:food porn
223:Doll Lips
110:Instagram
52:Education
1028:Artforum
1007:. News,
1005:Artforum
916:Artforum
688:Artforum
623:Artforum
598:Artforum
425:Parasite
368:Artforum
329:(1961),
321:(1964),
319:Meat Joy
283:Mondrian
252:such as
127:MoMA PS1
47:American
38:, Greece
1208:Galerie
413:Picasso
304:critic
262:Pop art
246:Frieze'
114:selfies
78:Website
1295:, 2020
1285:, 2020
1275:, 2020
1273:Garage
1189:Frieze
794:Garage
769:, 2018
524:Frieze
394:Frozen
258:Titian
167:Athens
149:, and
129:, the
36:Athens
1237:Artsy
958:Carla
327:Store
279:Gator
108:from
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293:and
256:and
254:Goya
137:and
29:Born
317:'s
281:or
238:by
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