Abstract
Driven by love, hate, sin, redemption and death, Michael Hussar’s portraits from the white series 1999-2009 presents the viewer with a contextual white noise of daily life. Immaturity that is both confrontational and evocative. Hussar describes his work as a voyeuristic snapshot of perceived humanity, complete with freaks and fakery; a gothic wonderland illuminating the gray area between truths and lies. Hussar’s attachment to his paintings runs deep; each piece is a journal of sorts, announcing its three-dimensionaliity allowing him to come face to face with his demons and exorcising them with each new stroke of the brush. Hussar’s paintings are in the private collections of Warren Beatty, Francis Ford Coppola, Leonardo di Caprio, and Rogie Vachon. My research addresses the artist’s willingness to engage his viewer with the reality that nothing can be changed until it is faced through text, video, and music. The challenge for hussar is in the moment; and the time is always now! The old traditions of portraiture are bankrupt.
Presenters
Robert TracyAssociate Professor/Curator, Art, University of Nevada Las Vegas, Nevada, United States
Details
Presentation Type
Paper Presentation in a Themed Session
Theme
The Arts in Social, Political, and Community Life
KEYWORDS
MICHAEL HUSSAR, CONTEMPORARY PORTRAIT PAINTER, THE WHITE SERIES 1999-2009
