Michael Petry’s Favorite Contemporary Still Lifes
Art historian Michael Petry has curated many exhibitions and published various books on contemporary art. While he appreciates a wide range of artistic styles and movements, he has a particular affinity for still life paintings. In a recent interview, he shared some of his favorite contemporary still lifes, including works by Marc Quinn and Sharon Core.
### Marc Quinn’s “Self” series
Petry expressed admiration for British artist Marc Quinn’s “Self” series. The series comprises a collection of sculptures created from frozen blood, including a self-portrait of the artist. Petry finds these sculptures to be an intriguing and thought-provoking take on the traditional still life genre. Through this series, Quinn challenges traditional notions of life and death, as well as the transience of human existence.
### Sharon Core’s “Early American” series
Another artist whose contemporary still lifes Petry admires is Sharon Core. Her “Early American” series features meticulously composed photographs of carefully arranged 19th-century American still life paintings. Core meticulously recreates these historical compositions and captures them with a photographic lens, blurring the lines between reality and artifice. Petry finds Core’s work to be a compelling exploration of the history and tradition of still life painting in America.
### The appeal of contemporary still lifes
Contemporary still lifes offer a fresh perspective on a classic artistic genre, and Petry is drawn to the ways in which these artists subvert traditional conventions. By using unexpected materials and techniques, they challenge viewers to reconsider their assumptions about still life art. The innovative approaches of Quinn and Core have piqued Petry’s interest and inspired him to further explore the possibilities of contemporary still life painting.
### Conclusion
In conclusion, Michael Petry’s appreciation for contemporary still lifes is evident in his admiration for the works of Marc Quinn and Sharon Core. The innovative and thought-provoking nature of Quinn’s “Self” series, as well as the historical exploration of Core’s “Early American” series, display the rich potential of contemporary still life painting. By highlighting these artists and their contributions to the genre, Petry encourages an appreciation for the evolution of still life art and the inventive ways in which it continues to captivate contemporary audiences.
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