casey correa

@casecorrea_

artist support at @contemprints 🖇️ @stamfordartassn
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Weeks posts
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25 1
19 days ago
assemblage: three-dimensional compositions made from gathered, everyday “found objects” or scavenged materials, essentially a 3D collage.
29 1
1 month ago
making drawings out of other things
30 0
1 month ago
collab with @emilytella 🧈 amazing encaustics workshop by @lesliegiuliani today at @contemprints 🧈🧈🧈💛⭐️
18 2
1 month ago
13 2
1 month ago
ms. crayola
20 1
1 month ago
lino day at @contemprints 🐶👹 starring @lizbannish ⭐️
42 2
1 month ago
start with dog
45 1
1 month ago
39 0
2 months ago
from sketchbook vol. 3 oil sticks, graphite, inkjet print on handmade paper from journals and personal ephemera, recycled paper and magazine clippings
22 1
2 months ago
I have two works up for the auction thru December 12th in person at @art06870 and online at @greenwichalliance ; Partial proceeds will go to fund art classes for boys and girls clubs! Auction link is at @art06870 or -/art068702025/homepages/show And Breeding (2025) Solvent image transfer (collage, Playboy 1992, polaroid scan) and Polaroid on wood panel 8x10” what happened to the danny zuko I met at the beach? (2024) acrylic 8x10”
30 1
5 months ago
about ⤵︎ The piece is called Bravo, Bravo, Fucking Bravo, named after a specific moment in a scene from Bravo Network’s The Real Housewives of Beverley Hills in which Denise Richards, part of an old guard of scripted film and tv, realizes that in this version of reality, performing vulnerability is a currency and lying by omission is essentially punishable by law. She uses the network’s name repeatedly as a safe word, trying to stop the scene in its tracks. Bravo, Bravo, fucking Bravo! (2025) John Mayer by Annie Leibovitz for Gap (2007) on foam core (gifted, repurposed), insulation foam (purchased), acrylic (purchased), Victor brand mouse trap (inherited, father), shoulder pads (found on a walk with artists, Jacqueline Ehle Inglefield and F Rapant, Manhattan, NY), rubber home plate (personal archive), orange latex balloon (personal archive), white podium (SVA, Manhattan, NY), road case (found on a walk with friends, Manhattan, NY), needle & thread (inherited, paternal grandmother) 40x80" "Freud could only distinguish libido through masculine drives. The feminine was secondary, only existing as reactive to the desires of men. Throughout the expressions of American culture that Correa focuses on, there is the body. The empty pill jackets index the bioregulation of women within the testosterone hegemony. Correa is within but trying to also be without all of these apparatuses of power. She uses collage to help us see things by taking them out of their natural order. In Bravo, Bravo, fucking Bravo! (2025) the print of John Mayer, emanating the familiar aura of a teen heartthrob, is transferred onto foamcore, then stacked on a pedestal and a roadcase. A home plate is painted over in concentric circles to mimic the grooves of a record. The sound of it keeps the rhythm of deeper desires to participate." - Andrew Paul Woolbright
31 0
6 months ago