Maryan, an Artist Once Reborn, Is Now Rediscovered

by AryanArtnews
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Chanabd Gazad Sheldon, who was walking at Art Basel Miami Beach in 2018 as the new executive director of the Museum of Contemporary Art in North Miami, is about to collapse when faced with a painting on display at the New York gallery Venus Obermanhattan. became.

Almost 20 years ago, when she visited her grandmother’s friend Annette’s New York apartment, the wife of an artist known as Marian, she instantly saw a funny cartoon-like figure erupting with body fluids and strange ridges. I recognized it.

Born in Poland in 1927, the only family to survive the Nazi concentration camp (he was imprisoned with his mother’s maiden name using Pincus Brustin), moved to Paris in 1950 and moved to Fernand Léger. Studied Artist Marian (pronounced Marieyan).

He moved to New York in 1961 and died of a heart attack at the age of 50 in the studio at the Chelsea Hotel in 1977 after frequent exhibitions at the Alan Flamkin Gallery. His wife, Annette, met Sheldon’s grandmother during the war. I was hiding in a French monastery and was nearby.

When Sheldon first started in the art world as a gallery assistant, she was one of the few who was given an audience by Annette. Annette lived within a time capsule of Marian’s work after his death (and protects his legacy violently in her lifetime).

Sheldon said he “unexpectedly felt influential” when he reunited with Marian’s artwork as a steward of the Miami institution in 2018. “I quickly linked his experience as an immigrant, exploring his trauma, and linking his experience of living through art with something that resonates with the important immigrant community in which the museum is located.”

In a full-scale retrospective exhibition at MoCA North Miami until March 20, “My Name Is Maryan” will introduce the artist to the general public at Art Basel Miami Beach this week. With a new scholarship by curator Alison Zingeras, who hosted the exhibition, and a pile of previously unpublished works, the show follows Marian’s highly expressive form and makes the work a larger art. An experience that reinserts into the context of history and connects it to a universal human being.

“You think you can paint today,” said Venus in Manhattan, where an unfamiliar artist discovered dozens of canvases when he bought Framkin’s mansion a few years ago. Said Adam Lindemann.

Since then, Lindemann has found a cult enthusiasm for Marian among collectors such as Bernard Lewis Picasso and artists such as Eddie Martinez. Martinez curated the Marian show in Venus, Manhattan, New York this fall, comparing the artist’s bioform blend of expression and abstraction with artists such as Philip Guston, Carroll Dunham, Elizabeth Murray, and Danashutz. ..

Lindemann, who is once again exhibiting Marian’s paintings at the Art Basel Miami Beach booth, said the artist’s appearance is “basically always vomiting, bleeding, or extinct, but it doesn’t look like that. It’s like the magic of a seed. ” Come out of them or get inside them. “

“There are some positive solutions to the transformation and twist of humanity,” he said.

At the opening gallery of the retrospective, Zingeras uses unpublished photographs found in the 1970s as a guide to provide the sensation of Marian’s quirky studio at the Chelsea Hotel. His crucifixion paintings and distorted head tonds hang the African masks, folk crafts, toy soldiers and salon styles he has collected.

“I wanted to start by foregrounding the aesthetic impact of his mature work and how he constructed this visual world,” said Zingeras, who chose to tell Marian’s story almost backwards. Said. “He hated the Holocaust Artist label. It was important that it was at the center of the show, but it wasn’t the first experience.”

From there, the exhibition focuses on Marian’s “person.” This is a playful, huge, single-digit caricature cast that began in the early 1960s.

Recognized in his military uniform throughout the series based on Napoleon, Marian makes him almost alive with things exploding from his sliced ​​open head.

Mr. Zingeras said such distortions helped Marian’s resentment against France, which refused to apply for citizenship after living in Paris for ten years, and the traumatic memory of military unity in the camp. Insisted that it might be.

In Auschwitz, eight bullets were left on his body in a Nazi mass slaughter when the Russians were releasing the camp in 1945. His one leg was severed in Poland to save his life.

Marian was not part of a particular movement, but his work was exhibited in Europe in the 1950s and interacted with members of the CoBrA group. Miami’s retrospective is an installation of Marian’s paintings by Asgar Jorn, Egill Jacobsen and other CoBrA artists to bring out these affinities.

In another group, Marian is having a conversation with the work of American friends and colleagues exhibited at the Framkin Gallery, such as HC Westerman and June Reef in the 1960s and 1970s.

Reef, now 92, remembers Marian as a theater person who likes to play magic tricks. “He had a kind of stride,” she said about how he leaned on the clutch.

Reef explained that he hadn’t worked for months, but then closed himself and “suddenly exploded with lots of paintings.” “The picture was very ugly, but full of power. That meant everything to me.”

Marian’s Holocaust experience is clearly addressed at the heart of the show in the screening of the experimental film “Ecce Homo,” which he shot with artist Kenny Schneider. Marian conveys the first-person testimony of the Nazi camp directly to the camera.

In the opening minutes, Marian incorporates a photo montage of the Son Mi village massacre in Vietnam, civil rights protests, members of the Ku Klux Klan, and other socio-political struggles, the extremes of what can happen in the absence. As an example, I tied all of this to the Holocaust. Of democracy and freedom.

“It’s about his desire to speak to the entire human condition and understand the different forms of discrimination he sees as a continuum,” said Zingeras. “This is really the political relevance of his work today.”

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