Delia Brown: Precious — at D’Amelio Terras

Delia Brown -- Story Time -- 2008 -- 12 x 16 inches -- oil on wood panel

Delia Brown — Story Time — 2008 — 12 x 16 inches — oil on wood panel — from D’Amelio-Terras’ website

As an artist who’s spent a lot of time in galleries, I’ve thought much about the need dealers have to position artists in relation to art collectors, and the effect this has on dealer and artist success. This leads me to consider collectors, their backgrounds, motivations, interests, tastes. They’re not a homogeneous block, obviously, so it only makes sense that an artist who’s seriously intent on commercial success should, like any conscientious marketing professional, consider a specific segment within that block and target their work toward that segment as sharply and specifically as possible, using any and all means.

This came to mind, with quite a chuckle, when I visited D’Amelio-Terras late in June and pondered Delia Brown’s show, aptly titled Precious.

Viewing these small panels from a distance, I felt as though I’d stepped out of Chelsea and into JC Penney’s home furnishings department, sans furnishings. The literature accompanying this show speaks of “the delicate decadence of the Rococo painters” and “Balthusian tension where innocence teeters on the cusp of naughtiness,” but I’m not buying it. With an MFA from UCLA, I have to believe Ms. Brown knows precisely what she’s doing here. These artworks are, in my opinion quite intentionally, executed in the slick, glowing and vacuous style of the manufactured oil paintings sold in shopping malls to people who neither know nor care about art, the crowd that’s made Thomas Kincade a ridiculously wealthy, powerful and Pooh-defiling man.

But whereas Kincade’s work is designed for a decidedly middle-class, even Southern and Christian, crowd — see for example his painting NASCAR Thunder- The 50th Running of the Daytona 500 — Brown has targeted the upper middle-class and wealthy collector, obviously the kind more likely to amble into a Chelsea gallery.

Much to my amusement, her marketing is even more refined than that; these are images of mothers and daughters, or images of young girls, but all designed to appeal to wealthy mothers.

In every image, girls and their moms luxuriate in a world of satin sheets, high fashion (for the most part), pearls, pricey bathroom fixtures, primpy lapdogs and chi-chi bistros. It’s as if Ms. Brown has tapped into a market of wealthy mothers with absolutely no art sophistication whatsoever, who want mall-quality honey-dripping oil paintings that relate to their self-important, Mabelline lives.

For me Brown’s project comes off as a brilliant ploy by a masterful artist with a broad, sophisticated understanding of art and society. Its conceptual component is heavily salted with the smiling sort of contempt that steams from the disenfranchised, and Brown’s feeding of these images to this market sounds more than a little like Tyler Durden’s “Fight Club” formula of selling wealthy women soap made from their own lyposuctioned fat.

In the past, artists devised strategies to avoid commodification, often effacing and even removing aesthetic considerations in the process. It fascinates me to find an artist who makes commodification her plaything, and, aided by manifestly manipulative aesthetics, integrates it into a sweet yet caustic body of work.

[Slashdot] [Digg] [Reddit] [] [Facebook] [Technorati] [Google] [StumbleUpon]


  1. July 9, 2008 @ 7:21 pm

    Jax Chachitz Said,

    Bravo, thanks for your comments. I too just really wonder, what are some people thinking?

  2. January 13, 2009 @ 8:07 am

    Jan Salvador Said,

    Whatever her intent, Delia Brown is a brillant figurative painter!

Leave a Comment

Minds Eye Copyright © 2008 ART-tistics Blog. Powered by WordPress.