Issue link: http://papercitymagazine.uberflip.com/i/1387793
figurative painter Elaine de Kooning (the official portraitist of JFK) then, after her death, was acquired by sculptor John Chamberlain. Since 2011, it's been the domain of artists Byrne has invited, eschewing the notion of a painter or sculptor having to fill out an application. Participants to date have forged seminal bodies of work and often generated press attention, but none have compared to Holley's residency. Curators Dr. Alicia G. Longwell of the Parrish and Alison M. Gingeras for South Etna Foundation, who's also an adjunct curator at the Dallas Contemporary, both came to call at Holley's studio at the Elaine de Kooning House. The results of that residency and their interest — fostered by Byrne — are on view at concurrent solos this summer (both through September 6). The titles hint at their importance to this time in America: "Everything That Wasn't White: Lonnie Holley at the Elaine de Kooning House" at the Parrish and "Lonnie Holley: Tangled Up in de Kooning's Fence" at South Etna. For both, Holley ventures into new painting territory (on quilts and a wall painting) and continues his explorations into mining forgotten and humble found objects for his sculpture. We rang up Holley in East Hampton to learn more about the Elaine de Kooning House as muse. "The spirit of the house itself … allows the artist's spirit to be free," he says. "And that's what this house has done for me." Read more at papercitymag.com. Above right: The artist's The Crown, 2020, at Parrish Art Museum. All artwork photos Jenny Gorman. Right and below: Lonnie Holley's studio details, Elaine de Kooning House. Photos by Katherine McMahon. Faye Toogood Lonnie Holley's Fragile Like a Child, 2020, at Parrish Art Museum, Water Mill, NY Lonnie Holley at the Elaine de Kooning House "Everything That Wasn't White: Lonnie Holley at the Elaine de Kooning House," at Parrish Art Museum, Water Mill, NY 62