Yves Klein’s use of nude female models – daubed in his signature blue paint – as live paintbrushes increases in political incorrectness as the years go by. Now, Addie Wagenknecht has joined the ranks of artists who’ve responded with their own takes on Klein’s iconic objectification. Engaging a Roomba to paint as it skirted her nude body, Wagenknecht creates expressionist canvases with an algorithm and robot. (On view at Bitforms on the Lower East Side through Feb 11th).
Addie Wagenknecht, self-portrait – snow on cedar (winter), IKB dry pigment and resin on canvas, 80 x 90 inches, 2017.
Merrily Kerr is an art critic and writer based in New York. For more than 20 years, Merrily has published in international art magazines including Time Out New York, Art on Paper, Flash Art, Art Asia Pacific, Art Review, and Tema Celeste in addition to writing catalogue essays and guest lecturing. Merrily teaches art appreciation at Marymount Manhattan College and has taught for Cooper Union Continuing Education.
For more than a decade Merrily has crafted personalized tours of cultural discovery in New York's galleries and museums for individuals and groups, including corporate tours, collectors, artists, advertising agencies, and student groups from Texas Woman's University, Parsons School of Design, Chicago's Moody Institute, Cooper Union Continuing Education, Hunter College Continuing Education and other institutions. Merrily's tours have been featured in The New York Times, Conde Nast Traveler, Sydney Morning Herald and Philadelphia Magazine.
Merrily is licensed by New York City's Department of Consumer Affairs as a tour guide and is a member of the International Association of Art Critics (AICA USA)
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