‘Great Art In Ugly Rooms’ Delivers What It Promises

This may be a familar scene to some of you. You’re at a new bar or a house party of a friend of a friend of a friend, and the place is hideous. Bad, ratty carpeting, lighting that makes everyone look like ill and sunken-in, scratched-up furniture, a couple of creepy antiques or piles that look like gateway drugs to a Hoarders episode. And then, in a corner of the kitchen or above the TV tuned to one of those Music Choice stations, there it is: a beautiful piece of art, a captivating painting, something that is a true breath of fresh air compared to the faux-Toulouse-Lautrec literally every one of your friends ever has. And you think, how can something so beautiful exist in a place so otherwise aesthetically displeasing? And why does this happen?  

Great Art in Ugly Rooms is a half-one note Tumblr, half visual experiment that explores that artistic dissonance by ‘shopping the great works of past and present into objectively hideous spaces. A stunner from Marilyn Minter sticks out like a sore thumb in a room full of garish loveseats; a de Kooning stands sentinel over a tossed, bare mattress in a space that looks creepy and abandoned, one of Roy Lichtenstein’s pop-art steaks sits, perhaps appropriately, next to an open, empty casket. There’s Vermeer in garages, Cezanne next to moldy curtains and, perhaps most disturbingly of all, Damien Hirst in what appears to be a child’s bedroom. The results are sometimes disturbing, but generally pretty fascinating. Take some time to scroll through them, and be sure to visit the companion, Great Video Art in Ugly Rooms, as well. 

Artist Brian Batt Talks ‘Gossip Girl’

If you haven’t yet heard of artist Brian Batt, you’ll be getting a glimpse soon, especially if you tune into Gossip Girl. We know that not everyone’s smitten for Upper East Side scheming, but this impressive painter makes a cameo in tonight’s episode, “Portrait of a Lady Alexander.” Indeed, the 33-year-old acting neophyte even delivers some lines, in the presence of Chuck and Blair, no less. Guilty pleasure, meet aesthetic skill.

Born and raised in Philadelphia, Batt made his way to Manhattan roughly five years ago. At the time, he was working for a Long Island-based band merchandising company, designing t-shirts and other fan-focused products. But, much as he loved it, in 2008 Batt threw in towel, determined to work for himself and bent on painting fulltime.

And now, that’s just what he does. Day in and day out, he collides with the canvas in his Lower East Side two-bedroom walk-up, though soon he’ll be relocating to Dumbo. We can appreciate his need for more space. With two pit bulls, Lily and Zoe, bounding about (not to mention fixating on our feet) and countless large-scale works scattered throughout the apartment, perched precariously against walls and otherwise making it a little difficult to walk without worry, he’s due for—and deserving of—a real estate upgrade.

Batt’s style has certainly evolved over the years, and currently it’s all about gridding and dots. Some depictions we encountered during our visit were of Russell Simmons, Frida Kahlo, and Karen O of the Yeah Yeah Yeahs. Just blocks and dots of color making for a magnificent and entirely fresh perspective. No Lichtenstein or Seurat to be seen here.

Our personal favorite Batt original would have to be Venus, which features a gorgeous girl (who looks a lot like Lana Del Rey). She sports a letterman jacket and oversized sunglasses, her long locks billowing in the wind before a body of water. The closer you stand, the more out of focus it is. But back up a bit and the beauty comes together, well, beautifully. We really dig the illusion, not to mention the evident meticulousness. And we aren’t alone. Batt counts among his collectors the likes of Reese Witherspoon and John Krasinski, amid myriad more. Though he can command up to $25,000 per piece, prints are available on his site, signed and embossed, for only $90.

Jolly and totally down to talk shop, Batt opened up to us about his craft, breaking into television (if only once…so far), and his relationship with L.A. Spoiler alert: New York City wins.

Let’s begin at the beginning. Have you always been into art, even as a kid?
I was always drawing. And, I went to college for illustration at Hartford Art School in Connecticut. Also, my dad was an artist, too.

That’s awesome. Who is your favorite artist, apart from pops of course?
My primary influence is Chuck Close. Chuck Close is the man.

I can see that, for sure. You have a couple reminiscent, albeit distinct, aesthetics. What would you call them?
Pixilated paintings and dot style[, respectively]. [The former] is influenced by the digital era. The reference is like a bitmap. [The latter is] like look[ing] at a newspaper [if] you zoom way in; it’s all dots. It’s influenced by print.

What does this endeavor mean to you?
I’m just so motivated to be painting every day, as much as possible. Definitely more motivated now than ever before. I spend a lot of time; I’m working at least twelve hours a day, seven days a week. There’s so much I want to do, so much I’m set up to do right now. Commissions and pieces I’m compelled to do. I’m the only one here to do it, too. I don’t have assistants or anything, so I just have to be as productive as I can. I work really hard.

It shows. How do you create these pieces? Like, where do you source the initial images?
This [Russell Simmons image] is taken from a photo on the internet, which is something I’m trying to avoid. I want them to be original. Like, with Gossip Girl, I couldn’t show this because I didn’t take this photo, you know?

It’s tricky. So, how did you initially get involved with Gossip Girl?
The head writer bought two of my paintings at a show I had in L.A. They wanted [to feature] a New York artist and were trying to write me into the script. They wanted me to play myself for authenticity. When they first told me, I really [didn’t] expect it to happen. [After some back and forth,] they invite[d] me to do a cameo on the show.

Were you stoked?
I was very interested.

Then what?
They explained what the scene was going to be; Chuck and Blair come to my studio to talk about a painting. They wanted me to read in front of the camera. That was the final test. I was super nervous, because I’d never done that sort of thing. They just wanted me to be myself.

Did Gossip Girl film here?
They wanted to. Because of the walk-up, it was an issue. So, they came, picked up, like, 18 of my paintings, and recreated my studio out on Long Island. It was cool to see it all recreated.

I bet. So, what was the end result?
It was amazing. The experience was great. They made me feel really comfortable and were really enthusiastic about the work. It was so surreal. It should be great exposure.

Beyond the head writer of Gossip Girl, who else invests in your work?
Probably the most famous person who’s bought work from me is Reese Witherspoon. I did one for John Krasinski a couple years ago, too. It was commissioned by a friend of his. He loves JFK…

Are you bent on depicting famous faces or are you also into lesser-known subjects?
It’s both. I don’t feel as comfortable submitting pieces where I didn’t take the photograph.

And that largely ties back to portraying folks you know or have easier access to than the celebrity (or deceased) set. Tell me about your Frida Kahlo painting.
I think it’s important [to represent] the power of women. There’s not as many female artists. There’s not as much of a presence of female artists. That’s what inspired me. I like subjects who are game changers, who overcome adversity, who stand up for something. To me, Frida totally represents that.

Absolutely.
It’s also about doing more obscure icons. People I think are amazing but don’t necessarily get the recognition of, like, Bob Marley, who’s on posters everywhere. [For example,] this is Karen O. from the Yeah Yeah Yeahs. I love Karen O.

Does anyone ever sit for a portrait?
Used to. But now I take a photograph because I don’t want to make someone wait so long.

Speaking of waiting, what’s your waiting list like?
A year. Some are priority. Some people are anxious to get something; others are, like, Whenever. I’m happy to have a bunch of commissions lined up.

It must be awesome to be an artist who isn’t starving.
It’s the best. I’m starting to pick up some momentum now.

Yes, you may even make it to Art Basel this year. Tell me more about the piece you anticipate showcasing there?
I’ve probably put in 1,000 hours so far. It’s tedious. I really hope they take it.

For sure. So, does New York inform your art? This area?
It’s always inspiring to walk around the neighborhood. I’m lucky I have dogs. Gets me out of the apartment.

But soon you’ll be abandoning the Lower East Side for Dumbo. Are you ready to say goodbye to Manhattan?
I’m freaking out. I’m majorly freaking out.

I would be, too. Lastly, your manager’s based in L.A. Can you describe your relationship with the West Coast?
There’s so many opportunities for artists out there now. It’s really refreshing to have New York artists [going] to L.A. The general population in Los Angeles is all about it. There’s so much to take advantage of. It’s really positive and beneficial to be involved in some way. It’s also nice to recharge a little bit, too. I love going back and forth, absorbing what both places have to offer. I don’t think I could live there full-time, though. New York is just so amazing.

Attend a Dinner Inside Andy Warhol’s Mind for $95

Diners will soon have the opportunity to eat at a pop-up restaurant manned by 15-year-old wunderkind chef Greg Grossman, where “Guests will feel like they are dining inside an artist like Andy Warhol’s mind circa 1982.” Sounds disorienting and uncomfortable! The dinner will consist of “molecular gastronomic masterpieces” inspired by pop artists like Warhol and Roy Lichtenstein.

Organized as part of serial pop-up event The Feast, the dinners will take place on three nights starting March 10th at Midtown’s Sanctuary Hotel, which will itself be pop-arted out. I think this whole thing needs one less unexpected stunt. Either choose the baby chef, or the pop art theme, or the pop-up nature of the event. All three and it’s just way over-themed, like a Jersey Shore-meets-Gilligan’s Island party. The flyer for the dinners kind of looks like an invite to a party at Tenjune. Oh, and teen prodigy chef Grossman told Eater NY that he dislikes the term “molecular gastronomy.” Well then.