Dusty is a contemporary art lover
who enjoys, among other things, the more historically inclined art press, the documents and photographs of which are available in the book periodicals at the Met (in the collection of Marian Goodman, his object of pilgrimage). He is not one for pitying gaudy, patently nostalgic portrayals of avant-garde art, nor for superficial put-downs of a politically engaged, critical, and liberated era of art. There is a very personal, very individuated response to his work, and although he has always pursued an agenda that many consider, in retrospect, at odds with the radicalism of so many younger artists, it is important for him. He is not seeking to become the second best artist around, but rather to emerge as a significant representative of the most powerful force of his generation.
Dusty is a contemporary art lover who has been following Los Angeles art for over a decade, and who is particularly familiar with the work of Mike Kelley, and whose own work has appeared on the covers of L.A. Weekly, Artforum, and LA Artforum. On his website, Mike Kelley has provided the title a picture of coy destruction that conflates the cute and the sinister, suggesting that it is a mistake to think that Kelley is merely funny. Yes, there are a few inky-looking works (the shortest was a bit over five feet long) and some strong, whimsical color and shape motifs. But the works are often muddy, and there are many more minor alterations to the silver and gold wrap than there were the original designs. Clearly, it was a wise decision not to include the entire number of originals, and the more works in the show were in fact distorted by the walls, their shapes and colors warped and replaced by several of these modified pieces of paper.In fact, the works Kelley modified were among the most visually appealing and graphic in the show, but the alterations in themselves are nothing new. Kelley leaves in place an almost complete mastery of the very same materials and methods that he took to his first Los Angeles show. The works consist of paper, wrapped in paper, tied in, and cut with a sharp, blunt, twisted piece of silver string. The materials are both forlorn and rather manicured, with almost random amounts of dirt and dust. The show is mounted on a combination of folded paper and ripped paper, and features a run of three-by-five-foot papers framed in a grid pattern. One piece consists of a smudgy stack of old newspaper frames on a tabletop, covered with a speck of dirt, and marked with a jagged hole, which is actually a foot in length, into which a cross-piece of paper has been thrown. In one work, a bundle of paper is reduced to the size of a broom brush.
and a writer based in London.
Dusty is a contemporary art lover with a thorough knowledge of both classical and contemporary art and a keen understanding of the art world. In her current series of beautiful nude female nudes, she combines nature vérité with a painterly approach, through which she often blends the figures soft contours and skin tone.Her subjects—the artist herself, some friends, and some unknown individuals—appear relatively unaltered. While not always seen in the flesh, one can still perceive them in the flesh, and in this nude study of nipples, for example, a nipple is visible, the rough surface of the nipple evoking the rough texture of a skin, and the shape of the nipple evokes a nipple. This series shows that the expressive power of a nipple has not disappeared, but is a part of her own personality and not a mask or a prosthetic device for vanity or self-expression.Another nude study, this one an example of reproduction, features the same face-and-body motif. A figure that looks familiar but is really herself is composed of dots of color that are scattered across a bright-colored background. In this case, the dots provide a backdrop, but the background also contains a number of serene, egg-shaped shapes. The background is painted a white-glaze like the one that covers the female nudes, and it also contains a number of bright colored gems, such as blue-shaped diamonds. The picture surface and the form of the subjects are composed in the manner of a pastel drawing, and these forms are contrasted with the iridescent pieces of glass that form the upper half of the composition. The formers secondary role seems to be to provide a background for the forms of the surrounding world of color; they both generate and maintain a combination of an image that is part of the picture surface, part of the sky above the subjects head.
Dusty is a contemporary art lover who works as a writer and, at the same time, as a writer, and has been writing and exhibiting regularly for more than ten years. For her recent installation, she turned her work into a stage, the artist being a performer, and the audience a dance. The piece consisted of paintings and sculptures that each had one part and one final sculptural part; they were carved out of carved plywood and painted a bright yellow-yellow-like white. The sculptures were made of pieces of plywood, many of them whole, some broken, and decorated with purple and other color combinations. The paintings were placed around the gallery walls and faced the sculpture. The sounds of the carving were audible and controlled by the voices of two of the artists children.The process of carving was both intimate and mechanical; it was a straightforward, almost intimate gesture. But the method seems as much to involve a sculptor as it does to create an object in bronze, a form that, in the hands of the artist, might be an elementary form of a step stool. In the case of The White Chair, 1989, she has shaped the seat in the chair and seat back into a rectangular piece of wood, a piece of wood that turns out to be a tree branch.The two works that the audience could see in the show were also close to the sculptures, and thus quite different from them. The paintings depicted actual terracottas, crayons, chalk drawings, and a series of oils on paper, with clay-like stains, marks, and drips that looked like blood. The paintings are composed of several strips of paper that had been wetted into the canvas; they are covered with loose, multicolored scribbles and smudged words. They evoke the blood and the textiles that are the source of the initial carving and are shown in the painting.