{"id":64275,"date":"2014-01-07T12:15:10","date_gmt":"2014-01-07T17:15:10","guid":{"rendered":"https:\/\/www.theparisreview.org\/blog\/?p=64275"},"modified":"2014-01-07T16:54:37","modified_gmt":"2014-01-07T21:54:37","slug":"anthony-cudahy-3","status":"publish","type":"post","link":"https:\/\/www.theparisreview.org\/blog\/2014\/01\/07\/anthony-cudahy-3\/","title":{"rendered":"Anthony Cudahy"},"content":{"rendered":"
\"Anthony-Cudahy-Studio-Portrait\"<\/a>

Cudahy in front of his painting Untitled (Vanessa)<\/em>.<\/p><\/div>\n

I was first introduced to artist Anthony Cudahy<\/a> in 2011, when I interviewed him for <\/em>Guernica. I was moved by his fleeting scenes of silence\u2014a woman pinning a boutonniere on an unseen man\u2019s tuxedo jacket, two girls hugging in a bedroom while one stares at herself in the mirror\u2014and amazed by the wide range of work from an artist so young (he was only twenty-two). When Adrian West pitched his translations of Josef Winkler\u2019s novel <\/em>Graveyard of Bitter Oranges<\/a> for the <\/em>Daily, I immediately knew Cudahy\u2019s work would best accompany Winkler\u2019s tales of death and phantoms in an unfamiliar country. Both invoke the Flemish hells of Hieronymus Bosch and Pieter Brueghel the Elder\u2014lively, complex, symbolic, the best kind of fever dream.<\/em><\/p>\n

I met with Anthony at his studio in the Brooklyn Navy Yard, where he is an artist-in-residence for the Artha Project<\/a>. Amid the stacks of wood planks from the neighboring furniture studio and the incessant clanking of pipes, we discussed the benefits of the Internet for the art world, growing up in Florida, and his hatred of the color yellow.<\/em><\/p>\n

I prefer to wake up early and have a full day to paint. It\u2019s hard for me to paint at night after my day job because I\u2019m so tired\u2014but then again, a lot of good stuff happens when I\u2019m tired.<\/p>\n

I think less while painting than I used to. I had this really good painting teacher in school, and she would make you say the color that you were going to use. You\u2019d think about how to mix it, and it was really effective because once you think about it so much you don\u2019t have to think about it. Before, I would think, I need to do this first, then wipe this, then add that. Now it\u2019s more reactionary. I\u2019m not thinking on that level. I\u2019m more confident with my work.<\/p>\n

\"Cuday-2\"<\/a><\/p>\n

You should be able to see a conflict in every painting. A lot of times, I\u2019ll think I\u2019m done with a work, but when I stand back, it looks so rendered and tight. If I realize that I didn\u2019t learn anything from it, I\u2019ll wipe the whole thing.<\/p>\n

I don\u2019t keep a sketchbook. I always thought there was something wrong, that I wasn\u2019t a real artist because I didn\u2019t like sketching. But the idea behind sketching is to experiment, and I like to experiment on the canvas itself. I also try to limit the color palette. I hate yellow as a color, but that\u2019s not a good reason not to use it. Limiting color expands what you can do with the colors you\u2019re using.<\/p>\n

\"Cudahy-4\"<\/a><\/p>\n

\"Cudahy-5\"<\/a>

Nightwalk<\/em>, work-in-progress, oil on canvas (top), and its photographic inspiration.<\/p><\/div>\n

The hospital in Florida where I was born shared the same parking lot as my high school, and that stressed me out a lot when I was younger. I was like, I have to get out of here. My family is super creative. My mom went to school for studio art, and my dad would write sometimes. My aunt is an art teacher, and my other aunt went to school for film. So there was always art around. It was always a thing I wanted to be, to be an artist. When teachers asked me what I wanted to be, that\u2019s what I would say.<\/p>\n

My concept to be an artist has changed a lot over the years. Now it\u2019s about whether you produce work or not. Obviously, there\u2019s a lot of baggage around the term artist<\/em>. But when people ask, I say I am a painter. I do think sometimes, What is their perception of me? Am I crazy, unstable? Not that I\u2019m saying I\u2019m not. Now it\u2019s about staying inspired. I have a lot of close friends that are doing amazing things. We all support one another. My roommate, Chris Nosenzo, produces a magazine called Packet<\/em><\/a>. We all make projects for it. I\u2019ll help curate it and bring in artists and photographers. That\u2019s a way for all of us to keep in touch and keep going, our way to talk to one another through art.<\/p>\n

\"Cudahy-6\"<\/a>

Patti<\/i>, 2013, oil on canvas, 16″ x 20″.<\/p><\/div>\n

I love art history and am always looking at art, but it\u2019s not the only source of my inspiration. The wider your scope, the more informed your work will be. It\u2019s weird because you feel you should be talking about people who are doing what you do, but it\u2019s other fields that inspire me most. Film is where I look to first. I\u2019d like to do more with film. I also produce a lot of zines with my friends. But the things I make paintings about, I don\u2019t want to make zines about. And the things I make zines about, I don\u2019t want to make films about. It\u2019s a different kind of energy.<\/p>\n

It\u2019s important to see a painting in person, but I love the Internet in that I\u2019m able to share my work with all these people. Obviously, there are bad aspects to what the Internet does to art and how you see art, but the benefit of anyone showing work is fantastic. You shouldn\u2019t have to have an M.F.A for people consider your work. And you also shouldn\u2019t have to live in New York City. Everyone that lives in New York hates and loves it at the same time. But, really, I don\u2019t know where else I would live.<\/p>\n

 <\/p>\n","protected":false},"excerpt":{"rendered":"

I was first introduced to artist Anthony Cudahy in 2011, when I interviewed him for Guernica. I was moved by his fleeting scenes of silence\u2014a woman pinning a boutonniere on an unseen man\u2019s tuxedo jacket, two girls hugging in a bedroom while one stares at herself in the mirror\u2014and amazed by the wide range of […]<\/p>\n","protected":false},"author":351,"featured_media":0,"comment_status":"open","ping_status":"open","sticky":false,"template":"","format":"standard","meta":{"_acf_changed":false,"footnotes":""},"categories":[1857],"tags":[12458,35,12459,331,12395,67,852,12480,1859],"class_list":["post-64275","post","type-post","status-publish","format-standard","hentry","category-studio-visit","tag-anthony-cudahy","tag-art","tag-hieronymus-bosch","tag-internet","tag-josef-winkler","tag-painting","tag-patti-smith","tag-pieter-brueghel-the-elder","tag-studio-visit-2"],"acf":[],"yoast_head":"\nAnthony Cudahy<\/title>\n<meta name=\"description\" content=\"Artist Anthony Cudahy on the benefits of the Internet for the art world, growing up in Florida, and his hatred for the color yellow.\" \/>\n<meta name=\"robots\" content=\"index, follow, max-snippet:-1, max-image-preview:large, max-video-preview:-1\" \/>\n<link rel=\"canonical\" href=\"https:\/\/www.theparisreview.org\/blog\/2014\/01\/07\/anthony-cudahy-3\/\" \/>\n<meta property=\"og:locale\" content=\"en_US\" \/>\n<meta property=\"og:type\" content=\"article\" \/>\n<meta property=\"og:title\" content=\"Anthony Cudahy by Justin Alvarez\" \/>\n<meta property=\"og:description\" content=\"January 7, 2014 \u2013 I was first introduced to artist Anthony Cudahy in 2011, when I interviewed him for Guernica. 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