Self-Portrait, 2001
Watercolor and gouache over graphite
on illustration board
Published ( in a manipulated version) in
NUVO, Summer 2001 (13)
LC-USZC4-11585; LC-DIG-ppmsca-03311
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The paintings of Anita Kunz transfix the eye and
pull the viewer into a realm of visual metaphor. In addition to
making pleasing images, Kunz strives to engage viewers' minds with
powerful symbols and allusions to the art of the past. Kunz's distinctive
style, remarkable technical skills, and intellectual insight have
made her internationally renowned for her provocative portraiture
as well as her imaginative pictorial response to widely varied
topics, including U.S. politicians, performing artists, finance,
women's issues, AIDS, and child abuse. Her works appear regularly
as cover art and editorial illustration for Time, Newsweek,
GQ, The New York Times Magazine, The Washington Post Magazine, and The
New Yorker.
Kunz is the first Canadian artist to be honored with a solo exhibition
in the Swann Gallery for Caricature and Cartoon. As a Canadian
she brings a special viewpoint to works that deal with issues or
subjects that involve the United States.This exhibition features
sixteen paintings selected from a recent gift by the artist to
the Library of Congress.The paintings chosen for the exhibition
include political satire, witty caricature and portraiture, commentary
on economic and health issues, as well as on women's issues, and
on darker themes such as child abuse.The selection reflects the
rich variety to be found in the hundreds of paintings that Kunz
has created during her twenty-two-year career.
Kunz has received prestigious awards and critical acclaim from
her peers, including the 2003 Hamilton King Award from the Society
of Illustrators in New York. Her paintings and sculptures have
been exhibited and published internationally, and she recently
had solo exhibitions in the Creation Gallery in Tokyo (1998) and
the Museum of American Illustration in New York City (2000). In
addition to cover art and illustrations for leading magazines,
Kunz has also created cover designs for more than fifty books.
Her work is represented in the permanent collections of the Smithsonian's
National Portrait Gallery, the Musée Militaire de France
in Paris, the Galleria Comunale d'Arte Moderna e Contemporanea
in Rome, as well as the Library of Congress. She has juried shows
of work by fellow illustrators, given lectures, and taught workshops
at universities and arts institutions in the United States and
Canada. In addition to these accomplishments, Kunz stands apart
from her peers by virtue of her distinctive style, outstanding
technical skill, and the sheer range of subjects that she depicts.
Born in 1956 in Toronto, Kunz grew up in Kitchener, Ontario, and
began to draw at the age of five. Her uncle Robert Kunz, an educational
illustrator whose motto was "Art for Education," inculcated in
her the idea that art could contribute to the fabric of society.At
the Ontario College of Art, from which she graduated in 1978, she
studied with New York illustrator Doug Johnson (b.1940).Through
her academic training as well as her exposure to concept-driven
art by illustrators such as Sue Coe (b. 1951), Russell Mills (b.1952),
and Marshall Arisman (b.1938), she was inspired to make content
and concept vital components of her art.
Kunz began her career with advertising assignments but soon sought
other types of work. She was one of two artists chosen by Rolling
Stone to produce a monthly illustrated History of Rock
'n' Roll end paper between 1988 and1990. Even Kunz's early
work shows imaginative approaches to portrait and editorial assignments.
In her 1982 portrait, Ray Charles, she highlights Charles's
open hands and jokingly composes his smile with piano key teeth.
However, the sinister skull teeth in Serial Killers (1986)
offer a chilling contrast. In Alcoholism (1985) she takes
a metaphorical approach to the subject, likening the alcoholic's
state to that of drowning, being engulfed and losing control and
hope.
As both a portraitist and caricaturist, Kunz does not aim to devastate,
but rather says she intends "to poke gentle fun at her subjects," illuminating
their essential traits by distorting or accentuating key features.
An example is her depiction of Whoopi Goldberg (1992), in which
she renders Goldberg's smiling face as a broadened, sculptural
form as befits the actress's larger-than- life personality.With
care and ingenuity, Kunz inscribes Goldberg's corn rows with words
relevant to the performing artist's life and thereby captures her
hair's texture and style while also highlighting her career and
character. In St. Hillary (1993) Kunz employs the iconography
of religious portraiture to create an ironic portrait of Hillary
Clinton as Joan of Arc. Shown with a halo, upward gazing face,
and heroically clad in armor and carrying a sword, Kunz's figure
of Clinton evokes the patience and passion of the martyred saint.This
symbolic portrait accompanied a 1993 article about the First Lady,
which discussed her views on virtue, politics, and the role of
government in peoples' lives. Both depictions underscore Kunz's
impressive abilities in drawing and painting and effective use
of symbol and allusion.
Kunz's paintings reflect a range of artistic influences. Her technique
resembles that of fifteenth-century Flemish artists whose oil paintings
are characterized by glowing light, rich color, and clearly detailed
rendering of forms that have symbolic and narrative significance.
Much like these traditional "Old Masters," Kunz begins each picture
with a drawing in pencil, carefully applies glazes of watercolor
often combined with gouache, and gradually builds up layers of
translucent colors to achieve similarly dazzling effects of color
and light. Her vivid paintings derive narrative power from forms
depicted realistically in extraordinary detail and invested with
symbolic and allegorical meaning. In her selective use of distorted
form and exaggerated color to express emotions, Kunz also draws
upon European Expressionism (1905-1930). Other paintings show the
influence of Surrealism (1920s-1930s) in their poetic, dream-like
visions with haunting details.
Kunz's remarkable technical skills complement her exceptional
ability to grasp the essential idea of a text that she is assigned
to illustrate and devise imagery that illuminates it in a thoughtful,
visually compelling way. She has said repeatedly that the nature
of each subject determines and drives the aesthetic approach she
deploys. Both abilities enable her to handle assignments on a wide
range of topics.
Her Canadian vantage point on global affairs comes across pointedly
in many of her works.The contrast between Canada, with its smaller
population and economy, and its dynamic, dominating neighbor sharply
informs her sense of global power relations, a theme she conveys
vividly in both Global Bully? (1997) and Would Anyone
Notice if Canada Disappeared? (2003). Global Bully? was
published as a cover for an issue of the Canadian edition of Time.The
provocative image and lead article question how the world perceived
American strength during President Bill Clinton's second term of
office. Kunz depicts the United States symbolically as a hybrid
creature with an eagle's head atop a muscular human body flexing
its arms; she tempers the figure's aggressive posture with a humorous
detail--tiny red, white, and blue briefs. Kunz incorporates multiple
meanings in this picture: not only does she poke fun at the superpower
strength of the U.S., but by showing the figure alone on a white
background, she suggests that its strength and behavior can have
an isolating effect.
In Would Anyone Notice if Canada Disappeared? (2003)
Kunz excises Canada-- her native country and the world's second
largest nation--leaving an immense void north of the United States.This
arresting view of the globe was published on another cover of the
Canadian edition of Time and dramatically illuminates
the lead article discussing the nation's decreasing influence in
world affairs.
Kunz's distinctive, often skeptical Canadian outlook also lends
an irreverent edge to her humorous portrayals of U.S. leaders.
During the 2000 presidential election she created Cheerleaders (2000)
for an article in GQ that chronicled the history of male college
cheerleaders in the U.S. In this amusing picture she distills the
article's central point-- that key Republican leaders, including
two past Republican presidents and the Senate majority leader,
were cheerleaders in college.The inclusion of George Bush, Jr.,
then a leading contender for the presidency, shows the persistence
of this phenomenon.
In addition to political themes, Kunz illustrates topics in health
and medicine for both mainstream magazines and science journals. Human
Guinea Pigs (2002) is a visual response to an article on human
testing of various drugs and medical treatments.To get her point
across, she depicts a naked and vulnerable human figure hunched
uncomfortably inside a small cage.
Kunz finds illustrating aspects of finance and business the most
challenging assignments. However, she meets these challenges with
striking visual commentary, as seen, for example, in Fear of
Finance (1991). In this imaginative piece she shows a fearful
Everyman cramped and constricted within a tiny picture frame covered
with minuscule copies of U.S. currency, documents with stamps and
seals, a gold MasterCard, images of a house, and a bottle of chardonnay.These
tangible objects, symbolic of financial transactions and desires,
surround and overwhelm the anxious figure in this striking cover
image that highlights an article on investors' ambivalence about
investing for the future.
This painting and Hands (ca.1997) also demonstrate Kunz's
special talent for combining highly detailed drawing with collage
into a harmonious whole. Her unusual ability to infuse a global
vision into her symbolic imagery is also evident in Hands,
which was produced for an article in Time about the worldwide
AIDS epidemic and possible cures and treatments for the disease.
In contrast with the universalizing tone of Hands, however,
another vivid example, Child Abuse (ca.1992), was created
in response to a specific, first person account of appalling ritual
child abuse perpetrated by a satanic cult. That Kunz can create
compelling imagery for stories about such disparate and divergent
topics speaks to her impressive range and insight as a creative
artist.
Anita Kunz has a love for drawing and painting, a passion for
illuminating the essential significance of leading topics and people
of the day, and a commitment to idealism and social responsibility
as a creator. As she says, "Freedom to express a visual opinion
on a wide range of subjects is for me the reason to become an illustrator.
Illustration has the power, potentially, to move people emotionally
and challenge them intellectually. By its very nature, illustration
can question conventions and generate reactions. In a society such
as ours, where art is frequently undervalued, this carries an unparalleled
power, given the exposure to a wide audience."
Martha H. Kennedy, Exhibition Curator |