Emily Sundblad

born in 1977 in Dalsjöfors, Sweden; lives in New York

Biography

2003 BFA Parsons The New School for Design, New York

2003–2006 Whitney Museum’s Independent Study Program

2004 Created the Reena Spaulings collective art space with John Kelsey


Visual Arts

Visual Arts

Emily Sundblad, visual artist, singer and gallery owner, staged herself as a chimera of the art world, using her dazzling appearance specifically for a postmodern strategy of hide-and-seek as well as a criticism through affirmation. A large part of her activities are often not performed in her own name and often also are done in the collective. Under the pseudonym Reena Spaulings, she appears with John Kelsy on the international art scene since 2004. The two create not only artistic works under this name. It is also used for the collective art space operated by the two of them and other artists (including Jutta Koether, Rita Ackermann and Ei Arakawa) in downtown New York City. Reena Spaulings is also the name of the protagonist of a novel by the international author and filmmaker collective Bernadette Corporation to which John Kelsey also belongs.

As a painter Emily Sundblad has been appearing more often under her own name in a series of solo exhibitions since 2011. She makes quick sketches of scenes from everyday life and chooses classic subjects such as floral still lifes or portraits. Her works appear to bring a direct experience to the canvas, supplemented by her written notes – fragments of thoughts, notes, names. Her color pallet and choice of themes are reminiscent of the Pop Art of David Hockney, as well as the delicately sketched, glazed paint style of Elizabeth Payton.

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Seen from the perspective of American pop culture, one could think that Emily Sundblad is part of the »It-Girls« of Lower East Side New York. Life style themes like love, luxury, youthful drive for freedom and escapism influence her artistic work both as a painter and her activities under the Reena Spaulings label to a great degree. But, as much as she makes use of clichés from upper class lifestyle and scene chics, considering that the essence of her art would be wrong. The artist flirts with the image of her person in order to pursue a strategy of critical affirmation that focuses on the mechanisms and especially the money cycle of the art business.

Her best-known commentary is in her 2005 »Money Paintings.« Money Painting (Dollar), Money Painting (50 Euro) or Money Painting (Swiss 20) are abstractions of banknotes that would not be immediately recognizable without the title reference. The intention is clear: The speculative value of art becomes a pictorial subject with its image being smuggled back into the art market. In the case of Emily Sundblad / Reena Spaulings, the flow of capital is also short-circuited by her double occupation of artist and gallery owner.

Author: Lona Gaikis

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Music

Music

Sundblad’s everyday, personal experiences in the New York scene only play a subordinate role in her activities as a singer. Together with colleagues such as the pianist Pete Drungle or the guitarist Matt Sweeney, she stages re-interpretations of familiar lyrics. Musical collages result that view the tradition of music as a form of collective experience and thus social practice that are renewed.

If Sundblad’s visual art activities harbor an artistic method of hide-and-seek, music also offers space for the game with role images. In particular the artist engages with concepts of the feminine in her performances. In the early days of Reena Spaulings, it was often pointed out how the project, alias Emily Sundblad, with her youthfulness and lust for life and love of the »It Girl« embodied the most desirable of all figures of late capitalism: The youthful girl. But in fact she stands for criticism of both the world of consumerism as well as of art.

As singer, Emily Sundblad is neither author nor composer, but simply her medium in the moment of the performance. She brings illusions to life and offers a view into the romanticizing worlds of desire.

In the Exhibition

In the Exhibition

Emily Sundblad

Concert at Algus Greenspon Gallery, New York, 2011, with Pete Drungle and Ensemble, Emily Sundblad (voc.), 4.10 min

Film: Loretta Fahrenholz

The music and lyrics of Sundblad’s musical performances are usually cover versions of love ballads, country songs or hits from American folk music. But the artist also reinterprets classical compositions, such as the second movement of Franz Schubert’s Piano Trio D 929 in E flat major op. 100 (Andante con moto) .

The haunting melody, known from Michael Haneke’s film Die Klavierspielerin (2001) or Stanley Kubrick’s Barry Lyndon (1975), is a symbol of blazing desire. The singer, Sundblad, then overlays the no-less love-sick lyrics of »Love Hurts« by the Everly Brothers from the year 1960 to Schubert’s piece. Accompanied by Pete Drungle and two violinists, she gives an intimate chamber concert, which celebrates love in a classically romantic way, but whose illusory character cathartically smashes her new interpretation. After the disappointed rapture, the song ends with the insight that love is just a destructive self-deception:

»I know it isn’t true I know it isn’t true

Love is just a lie to make you blue

Love hurts

Ooh love hurts«

(Love Hurts, 1957. Text: Boudleaux Bryant)

Author:

Lona Gaikis