In Helen Molesworth’s crushingly beautiful obituary for Noah Davis, she describes a funny interactio
In Helen Molesworth’s crushingly beautiful obituary for Noah Davis, she describes a funny interaction with the artist. When she had stopped in to visit him on her way to write a catalogue essay for her upcoming Kerry James Marshall retrospective, Davis said to her: “Oh man, Kerry James Marshall: that work speaks for itself!” I feel that the same could be said for Noah Davis, and I don’t want to do any more linguistic violence to him or his paintings. So I’ll leave off with this, probably my favorite of his paintings, and a passage from Molesworth’s text: “Art and death and love are inextricably linked to one another. Art is what is left behind; art is the trace of our brief time on the planet. It is a privilege to leave such traces, and it is an honor to tend to them. Love is the engine that makes the production and preservation of art possible. Love is the energy that allows us to connect equally with an art object made thousands of years ago or yesterday. Love—particularly love’s capacity for the infinite—is what allows us to be open to the experience of the other. It is love that enables the profound encounter with the ideas and vision and passion and feelings of another person. Such encounters form the very core of our engagement with art. It’s no mistake that Noah’s paintings are filled with figures that are touching each other. It’s also no mistake that Noah’s paintings are filled with solitary figures fully occupying the existential state of loneliness.”Noah Davis, The Year of the Coxswain, 2009 -- source link
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