LOS ANGELES — As a teenager, Peter Krasnow fled pogroms in Ukraine to study painting in America. His works responded to the times and his surroundings, from realistic depictions of his dark Jewish immigrant community to despairing portraits in a post-Impressionist style. But after Krasnow moved to Los Angeles, his work turned into bright and energetic celebrations of life. This is the time celebrated in the exhibition, Peter Krasnow: breathing joy and light at the Skirball Cultural Center.
Krasnow moved to Atwater Village in 1922 and quickly embraced the psychedelic nature of the California desert. His work predates the Memphis Movementbut uses many of the same colors and tones making her art extremely trendy with our current Memphis Revival movement. The driving force behind Krasnow’s Technicolor style, which he practiced until his death in 1979, was the Holocaust. Reports of genocide drove him to despair, but rather than focus on death and suffering, a clichéd reality in Jewish culture, Krasnow instead wanted to paint vibrant and colorful compositions. Despite his refusal to focus on tragedy, Krasnow still incorporated Jewish symbolism and mysticism into his paintings, showing that he had not renounced faith, but rather refocused narrative through art.
On the contrary, Judaism is proudly visible in many of his compositions. “K.-4-1976” (1976) unfolds the Hebrew letters of Psalm 19, which translates to: “Day by day they spread the word; night after night they reveal knowledge. The letters flow across a bulbous orange, coral and magenta background – a brain absorbing wisdom. Yellow and lime lines scribble behind the letters, on the brain, and crash over the edge of the framed canvas. They are synapses seeking information beyond the realm of painting.
Hebrew characters are also central to “K.-14-1975 / K.-15-1975” (1975), a vertical painting that uses its wooden frame to strictly divide the canvas into two sections. Abstract letters, which appear in bright, sinuous lines, coyly spell out the Hebrew names of Krasnow and his wife, Rose: Pincahs and Shoshana. The figures, not quite depicted in their traditional block form nor in handwritten Hebrew script, double as a note of love for all to see, a secret message that only the two of them could understand.
Although Jewish symbolism is an essential element of Krasnow’s paintings, he also seems to include sacred images from other religions and cultures in his paintings. It weaves its way into mandalas, tribal symbols and mythical creatures. The grid pattern of “K.-7-1949” (1949) evokes a luminous Malaysia ditty, a fabric used in royal ceremonies, with high-contrast organic shapes that blend into their quadrants. They coil like worms, stretch like flames, or jut out like shards of crystal. There are three large circular shapes at the bottom of the canvas, prayer circles that contain imaginary landscapes of distant lands.
In this painting and others, such as “K.-6-1951” (1951), animal motifs emerge. One is a human figure, a small person with arms outstretched to the sky. Another prominent creature has a serpentine body and duck-like beak. They evoke tricksters – the flute-playing Kokopelli of Hopi and Zuni culture, and the serpent of the Old Testament. Their presence could be read in multiple ways. On the dark side, they show that despite Krasnow’s commitment to painting joy, he still harbored fears in the face of suffering. These sneaky crooks could wreak havoc on the universe at any moment. On the other hand, Kokopelli and the serpent also represent fertility, and Krasnow’s paintings could have included them as a sign of hope for the rebirth of mankind.
Intuitively, I’m likely to lean towards positive messages. One notable thing about Krasnow’s color scheme is the absence of black. Darker colors only move in shades of navy or dark green. Because of his refusal to paint sadness, he abandons the symbol of absolute darkness. Krasnow’s paintings are only meant to inspire.
To ensure viewers feel that uplifting spirit, the Skirball commissioned a soundtrack to emphasize the visual experience. Curated by Dublab DJs Alejandro Cohen and Mark “Frosty” McNeill, the playlist features a mix of contemporary songs that channel the spirit of Jewish mysticism, as well as traditional folk music that harkens back to Krasnow’s Ukrainian heritage. With these upbeat sounds played in the gallery, the uplifting environment blocks any tragic association with Jewish culture. Be sure to turn up the music and vibrate with Krasnow’s colorful paintings.
Peter Krasnow: breathing joy and light continues at the Skirball Cultural Center (2701 N Sepulveda Blvd, Los Angeles) through September 3.
