Post-Post-Post-Renaissance: Jeanette Hayes Updates the Old Masters
The artist Jeanette Hayes has made GIFs for Proenza Schouler and turned model selfies into emoji art, but she’s reaching back into art history for her solo exhibition opening Thursday at New York’s Castor Gallery. Like much of her work, “PARADISE??” is a high-low conundrum, what might happen if Michelangelo came down from the ceiling of the Sistine Chapel to work instead on holographic paper, that favorite meme of the 90’s—even if Hayes argues that it is as current as Snapchat. “Holograms are the closest we can get to painting on a screen or monitor with moving imagery, without being that,” she said. “They force you to move around and see how the light and prisms change. I think of them as very technologically exciting. They just got boxed in with Lisa Frank, but I believe them to be much more.”
““To be Titled 6,” 2016. Courtesy the artist and Castor Gallery.
“St. Bartholomew displaying his flayed skin,” 2016. Courtesy the artist and Castor Gallery.
“Downfall,” 2016. Courtesy the artist and Castor Gallery.
“To be Titled 8,” 2016. Courtesy the artist and Castor Gallery.
“To be Titled 5,” 2016. Courtesy the artist and Castor Gallery.
“Salvation of Noah,” 2016. Courtesy the artist and Castor Gallery.
“”Deluge,” 2016. Courtesy the artist and Castor Gallery.
“Damned Man(s),” 2016. Courtesy the artist and Castor Gallery.
