"Transformations: The Art of Joan Brown."
Adams, Brooks, Artforum International
UC BERKELEY ART MUSEUM/OAKLAND MUSEUM
For years I've had a jones for Joan Brown's '70s work. The paintings - with their ham-fisted clarity, their relish for pattern and costume, their goofy hieratics and allegorizations, in those hip housepaint colors - hit me in the solar plexus. Brown (1938-1990), a Beat-era youthquaker with a Look-magazine mention and an Artforum cover to her credit by age twenty-five, had evolved by the early '70s into a cool, funny, contrarian painter (included in Marcia Tucker's epochal "'Bad' Painting" show at the New Museum in 1978), even as she was veering into the loopier byways of the post-Beatles, Eastern-spiritualist zeitgeist. Brown's public-art projects of the '80s - tiled obelisks, featuring cheerily postmodernist, Sanskrit-Egyptoid motifs - kept her on the road and were the main focus of her energies until she was killed, at age fifty-two, in a construction accident in Puttaparthi, India, while installing an obelisk for her guru.
Despite its occasional howlers and cliches, Brown's autobiographical enterprise in this mammoth retrospective attests to a genuine fierceness of spirit. The exhibition was divided between two museums, with the more substantial, Oakland section subtitled "The Self," and the diffuse display in Berkeley dubbed (rather mystifyingly, given Brown's steadfast solipsism) "The World." The Berkeley sampler, shown in a badly earthquake-damaged building, didn't do the artist any favors, and was suffused with precisely the regionalist, cultish aura from which Brown's reputation still needs to be liberated. The few strong paintings, most notably the fanatically detailed Buffalo in Golden Gate Park, 1968, barely survived the effect of stale festivity conveyed by the hodgepodge installation as a whole.
But in Oakland, viewers were treated to the rough draft of a great retrospective exhibition, which suffered only from the presence of a few clinkers, as well as the absence of several key paintings. Here, the emphasis fell squarely on images of the artist, her immediate family, and her pets. These particular works form the strongest argument for Brown's importance as a painter. The catalogue's insistence on her roles as a folksy humorist, housewife-feminist, mermaid-swimmer, sphinxy spiritualist, or heraldic litigant reads as special pleading, even if she did dramatize these other identities to the hilt in her art.
After a few very early years of murky, impasto work in the manner of Richard Diebenkorn, David Parks, and Elmer Bischoff, Brown moved into more overtly representational domestic scenes. Noel in the Kitchen, ca. 1964, with its great checkerboard floor, depicts the artist's young son hanging around the stove with his pants down in the company of two big dogs. At once Bonnard-ish and Hispano-Flemish Baroque in feeling, it's an early tour de force.
Here, emphasizing Brown's role as mother, was the lovingly collaged scrapbook that the artist made in 1962 for Noel, which actually worked as feminist art. …