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JUSTINE FRISCHMANN

Video produced by Gallery Log

Interviews:

Interview with Mary Anne Hobbs for BBC Radio 6 Music

Architect's Journal

New Linear Perspective

In the Make


Justine Frischmann
Visual Art Sourse recommendation by DeWitt Cheng
May 14, 2016

Ten paintings — “Lambent #74” to “Lambent #93,” all from the past two years, most of them medium-sized, in square format (with two larger diptychs) — comprise the show. The silvery aluminum substrate may conjure for photo aficionados the mirrored surface of daguerreotypes with their mutable, transient images: change position, and the values flip, positive to negative, and back again. The paintings likewise alternate from light to dark, as the viewer’s position and gaze change. The metal surface incorporates colors from outside the work, but diffusely, so that the viewer seems to inhabit the virtual space of the photographed architectural settings and the painterly mists and waves that Frischmann has added in counterpoint. These works prove that painting can draw on tradition — the crystalline structures and colored atmospheres of Lyonel Feininger and Larry Bell, the physical calligraphy-writ-large of Willem deKooning and Gerhard Richter come to mind — while moving it forward into the digital age; “looking for faith,” says Frischmann, “when there’s so much doubt.


Justine Frischmann: waking up from Elastica to art in America
The Guardian Article by Alex Needham
March 14, 2016

Jarvis Cocker has got his radio show, Damon Albarn has his Chinese operas and Liam Gallagher has his clothing label, but Justine Frischmann has kept a low public profile – until now. On a Thursday afternoon in New York art week, the former frontwoman of Elastica, an integral part of the Britpop pop boom of the mid-90s and arguably its coolest band, is hanging out in a booth at the Volta art fair, surrounded by greyish abstract paintings. On closer inspection they’re blown-up, blurred photographs that show the light playing on some mirrors; over the top are smudged white brush strokes. This is the Lambent series, Frischmann’s latest collection of paintings, which she’s selling at the fair. Tell-tale red dots on the catalogue reveal that she has already sold three – and the fair hasn’t even officially opened yet.


Rocker-Turned-Painter Justine Frischmann Brings London Grime to VOLTA NY
Artsy Article by Bridget Gleeson
March 1, 2016

Even if you’ve haven’t seen her paintings, you might be familiar with Justine Frischmann’s work. She’s best known for her past career as a musician, specifically as the founder and frontwoman of Elastica, the post-punk Britpop band that topped the UK charts in the mid-1990s. Since the band split up in 2001, Frischmann has reinvented herself and applied her creative talents to another medium—painting.


Justine Frischmann at Marin MOCA
Emerging Artists of the Bay Area
March 8 - April 13
500 Palm Drive, Novato, California.

The Marin Museum of Contemporary Art in Novato, California, will present Emerging Artists of the Bay Area, an exhibition featuring the work of emerging artists Justine Frischmann, Al Grumet, Carl Heyward, Phillip Hua and Jennifer Kaufman.

"Justine Frischmann's works strike a quieter, but no less powerful note. Her work oscillates between chaos and composition, mixing traditional high value methods like layered oils with throw-away contemporary materials such as fluorescent spray paint. In neon fluoro sprays on panel wiped out by pale scumbles in oil, Frischmann performs a kind of reverse vandalism, revealing a preoccupation with light obscured and revealed, and an interplay between struggle and stillness, cancellation and reconstruction."


SFAQ Review by Matthew Marchand




SF Gate Review by Kenneth Baker

'Wonder' - big curiosity on small scale

Kenneth Baker, Friday, January 4, 2013
Occasionally an exhibition, such as "Wonder," the Berkeley Art Center's unjuried members' annual, invites us to imagine dilemmas of the contemporary artist.
In this case, only a size limit - 18 inches square or smaller - restricted the single work that every member was invited to contribute.

The 201 submissions exhibited represent less than half the BAC's artist membership, but make up a dense sampler that varies wildly in sophistication and interest.

The show implicitly asks visitors to keep in mind the question that each exhibitor must have faced: Which single object can best represent what I make?

Behind that question lies the constant difficulty of deciding what sort of fabricated things - in what state of finish, in what lineage and frame of reference, in what quantity - artists are willing to claim as their own.

For those who have something like a signature style, or who already enjoy some local prominence, such as abstractionists Jenny Bloomfield, Kimberly Rowe and John Wood, I imagine that the quandary of choosing a single key work might have stung little, if at all. But for many others less known, the single chance to catch visitors' eyes might well have felt onerous.

Any given single work might betoken a lucky stroke or day in the studio, with little backing it up, should anyone inquire. Or, like a thread trailing from a splendid bespoke garment, it might tie into an ambitious and distinctive body of undiscovered work. Therein lies much of the appeal of "Wonder."

Pieces by many people unknown to me make me wonder what other work and what temperament lie behind them.

I find it hard to imagine Ruth Threadgold's ink-on-paper abstraction as a typical work, though I know nothing else of her art. It has an intriguing air of mingled tentativeness and recklessness about it that stirs curiosity.

I get a similar feeling from Jane Norling's "Chance #26," whose medium she lists as monotype inkjet on aluminum. Its process, content and intent pleasingly resist easy reading.

Justine Frischmann's little abstract painting on panel "Lambent Series, #2" (2012) wears an aspect of such unforced confidence as to make me wonder why her name is unfamiliar.

Most of these examples, and others by Claire Brees, Mary Mortimer, Jeanne V. Diller and Mel Lyons, share a creative ruthlessness or seeming indifference to reception that frequently - though not always - counts as a mark of sophistication.

Lyons offers a strangely magnetic example: "Six Lines" - just what the title says - ruled parallel, slightly different in length, on a blank sheet, positioned so that they make space where it was neither present nor absent beforehand. Only eyes primed to recognize this sort of effort will see it, or care.

Questions of self-awareness arise in "Wonder" also.

Does Alexandra Balliere know how closely her abstract painting resembles the work of New York painter Nancy Haynes? Has Carol Jenkins studied the work of Edward Corbett (1919-1971) admiringly, or not at all?

Well, everyone's work resembles someone else's sometime. If "Wonder" provokes more curiosity than it can satisfy, that it is a strong reason to see it.

Wonder: Artists Annual Exhibition: Works in many media. Through Jan. 27. Berkeley Art Center, 1275 Walnut St., Berkeley. (510) 644-6893


Huffington Post Review by Julia Schwartz