[pictured above: final two source images for paintings: ca. 2017]
My paintings are landscapes that veer toward the abstract; thick shapes animate illogical spaces where oceans, skies, mountains and valleys erupt, dissolve and disrupt one another. For years, I collected images of sublime and catastrophic events and re-purposed them for paintings. (The two images above are my final source images; I nod to them before moving on). My projects have focused on man-made and natural disasters, war-torn places in the Middle East, military machine visions, and surveilled but forgotten corners of the world. Interrupting the media stream, I slow it down through painting, and the literal connections between painting and source imagery become increasingly oblique and metaphorical.
Joy Garnett is an artist in New York. Her paintings have been shown at the Milwaukee Art Museum, MoMA-PS1, the Whitney Museum, The James Gallery at CUNY Graduate Center, The FLAG Art Foundation, Boston University Art Gallery, Museum of Contemporary Craft Portland, BALTIC Centre for Contemporary Art, and the Witte Zaal, Ghent, Belgium. Catalogue essays by Lucy Lippard, Deborah Frizzell, Benjamin Godsill, and Tim Griffin, have accompanied exhibitions of her work, which has been reviewed in The New Yorker, The New York Times, Art in America, ARTnews, TimeOut, The Brooklyn Rail, Artnet, Artforum, The Huffington Post, Hyperallergic, and elsewhere. She has received grants from Anonymous Was a Woman, Lower Manhattan Cultural Council, Wellcome Trust, and The Chipstone Foundation. Her work is in the permanent collections of the National Academy of Sciences (Washington DC), Altria, and The West Collection (Oaks, PA).
From 2005 until 2016, Garnett served as Arts Editor for the peer-reviewed journal Cultural Politics published by Duke University Press. Her paintings and writings have appeared, sometimes side by side, in an eclectic array of publications, including artnet; Art21 Magazine; Ibraaz (edited by Anthony Downey, 2013); Ping Pong, the literary journal of the Henry Miller Memorial Library (edited by Shelley Marlow, 2015); and the The Artists’ and Writers’ Cookbook (edited by Natalie Eve Garrett, powerHouse Books, 2016). Scholarly books where her paintings and writings have appeared include Virilio Now: Current Perspectives in Virilio Studies (Polity, Cambridge, UK 2011); The Virilio Dictionary (Edinburgh University Press, 2013); and Virilio and Visual Culture (Edinburgh University Press, 2013), edited by John Armitage.
She has been working on several projects that revolve around her late grandfather, the Egyptian modernist poet and bee scientist A.Z. Abushâdy (1892-1955). For information visit The Bee Kingdom.