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J. J. Murphy

@dagcentral

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film scholar and filmmaker
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New pastel. My version of abstract painting I guess. They started out as a vacation project. I’ll start making real paintings eventually. I have more but I’ve included a lot of the other ones for context in case you haven’t been following. They are about 16” x 12”
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One week left to view my show, Desire for Clarification, at JJ Murphy. It has been a special exhibition and a privilege to work with JJ and Nancy for the past year. I will be there on the 27th for the closing of the show. I can also do drinks after! Gallery will be open from Thursday to Saturday 12-6 pm. p.s. Thank you everyone who came to the talk last Saturday. It was a pleasure to discuss my work despite my ambiguous answers about the work.
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Huge thanks to everyone who made the time to come and see the show yesterday. It was a heartfelt moment for me to see my friends, mentors, and others to share their time and thoughts with me. Thank you JJ and Nancy for a memorable night. Hope to see everyone around, please let me know and I’ll try my best to be there. JJ Murphy, “Desire for Clarification”, May 27-June 27, 53 Stanton st. 10002, open Thursday-Saturday 12-6 pm Image: Cock and Knife, oil on canvas, 16”x20”, 2026
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Repost from @dagcentral • Margaret Curtis gained prominence in Marcia Tucker’s “Bad Girls” exhibition at the New Museum in 1994 and had three subsequent solo shows at PPOW, the last one in 2003. Since then, her career has occurred outside NYC. Small galleries have been attempting to fill a void lately. Curtis’s extraordinary new exhibition “’S” at Post Times on Henry Street, her first solo exhibition in NYC in over 20 years, is visually stunning. The fragmentation—involving objects and body parts—in the five paintings in the front gallery feels as if we’re witnessing a series of explosions. Her painting “‘S” (2026), in fact, suggests the upheaval of a major tornado—a whirl of orange safety fencing, a human leg clothed in patriotic stripes, sections of signage, a hand holding a gun, and a cartoonlike gust of wind. Certain images in her landscapes reoccur: Southern stereotypes, such as naked feet and moonshine, along with a checkerboard pattern that references both Photoshop and its use in plotting American Indian reservations. “Collapse” (2023) features remnants of a roadside billboard of a crying woman reminiscent of the pop artist Roy Lichtenstein. Paintings and comics are not the only references. The central figure having a tantrum in “Self-Made Man” (2024) depicts a combined male and female figure that recalls the character Major Kong (Slim Pickens), who rode a bomb in Stanley Kubrick’s political satire “Dr. Strangelove” (1964). The same painting depicts fracking and an oil spill. Yet despite the overtly political and gendered content of her imagery, what’s more intriguing is Curtis’s masterful technical proficiency. Her imagery might appear realistic initially, but, on closer inspection, she employs various techniques of faux finishing: variations of wood panels, disparate surfaces, stenciled patterns, directional brushstrokes, and pulverized ash mixed with paint. Curtis’s representational paintings are remarkably complex. They are ultimately about the act of painting itself and all the different ways that an image might be rendered. @post__times @margarcur #roylichtenstein #contemporaryart #contemporarypainting
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Thank you OLYMPIA for letting me be your last dance in this iteration. Thank you Ali, thank you Wells, thank you Jo, thank you to all the friends and family that came out. So very grateful. 🍃❤️ @olympiartz @bugloverphat @josephine_nyhan @hawkeyecrates
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Line-Up 2012 oil/canvas48x60”
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Thank you @dagcentral ❗️ @harkawik @ww_sacks @white_columns @matthewhiggs2015 Derangements 2025 Oil on canvas 24”x18” BRAINWAVES AND WAVESTORMS up now in nyc ╰(*´︶`*)╯♡
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Two brothers about 5 months old need to find a home😻😻😻
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Vincent Van Gogh died in 1890 at the age of 37. Had he lived, he would have been 56 years old the year filmmaker Joseph Mankiewicz was born in 1909. One thing that I love about Mankiewicz’s 1950 film “All About Eve”, is the way he used drawings, prints, paintings and reproductions to amplify the live action. A reproduction of a painting titled “Mrs. Sarah Siddons as the Tragic Muse” by Sir Joshua Reynolds plays a particularly meaningful part in the film. Directly behind Miss Casswell (Marilyn Monroe) in one scene, Margo (Bette Davis) in another, and filling the entire screen in a close-up later. There’s a painting by Joshua Reynolds of “Captain George Coussmaker” made in 1782 at The Metropolitan Museum of Art that I have been looking at and thinking about a lot lately. Reynolds began the painting of actress Sarah Siddons the following year in 1783 and finished it in 1784 and it’s close to the same size as Captain Coussmaker. I think of these two Reynolds paintings as being related since they were made at around the same time and are close to the same size. All of which was a catalyst to the making of “All About Eve and Vincent”. One of an ongoing group of paintings stemming from these observations and ideas. Though once the paintings begin, they go their own way and pick up other feelings and ideas, both romantic and formal. For example, at some point late in the making of this painting, I had the feeling of the memory of seeing Piero’s “Madonna and Child with Two Angels” in Urbino during the summer of 2023, and started trying to remember more clearly through painting how the color felt in Piero’s painting. “All About Eve and Vincent” is on view in “Who’s Afraid of Still Life?”, a wonderful group show curated by Nancy Mladenoff at JJ Murphy Gallery at 53 Stanton Street, NY, NY through August 2. Gallery hours are Thurs-Sat, 12-6 PM. Image 1.) All About Eve and Vincent 2025 oil on canvas over panel 11 3/8 x 10 5/8 inches
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@scheindan is a legend and a wonderful painter. His show @jjmurphygallery is stellar example of his craft and wit. Jj and @namladen have good 👀 #danschein
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Thank you, J J, for your thoughtful take and spending so much time to consider the work of Janice Nowinski. @dagcentral Consisting of new and some older works, Janice Nowinski’s third solo exhibition, “Mirrors,” at Thomas Erben Gallery in Chelsea is her most expansive. Quite a few of the works are larger in scale, such as “Large Reclining Nude” (2023), 18 x 22 inches. In addition, Nowinski takes the work in a new direction. The source of her many female nudes may be early erotic postcards, but what’s most notable about them has to do with the artist’s raw and formal treatment of the subject. Nowinski shows little interest in depicting facial features. She often obliterates, blurs, distorts, or simplifies them, yet she always manages to capture a resonant bodily pose. In “Nude with Pink Cloth” (2023), the turn of the subject’s body away from us also animates the pink cloth. In a case where the subject remains static, as in “Sleeping Nude” (2024), Nowinski illuminates the white textile draping the female body and the upper torso as a way to energize the composition. What most impresses about Nowinski’s paintings is how idiosyncratic each one remains even though she often returns to the same image multiple times. There are paintings based on classical works, such as her remarkable “Bathers After Cezanne” (2024), but also several religious paintings that exhibit a folk-art quality. Two based on Giovanni Baronzio’s “The Baptism of Christ” (c. 1335) demonstrate how different Nowinski’s paintings can be despite sharing the same origin. Baronzio’s work provides the basic structure for the four figures. In “Sienese Baptism” (2023), the artist emphasizes the extended arm, the angel’s halo looks more like a hat, and a cloud of white surrounds the tree on the left. In “Sienese Baptism II” (2024), the outstretched arm partially fades from view, Christ’s face and body are highlighted, and a thin swath of red dominates the background. You don’t want to miss Nowinski’s extraordinary new show—it’s her best one to date. @janicenowinski @thomaserbengallery @anemte #femaleartist #womanartist #womenartists #figurativeart #figurativepainting #contemporaryart #contemporarypainting
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