From Basquiat to Mick Jagger
“I never got lumped in with them [my contemporaries],” says the artist, speaking over Zoom from her eclectic home in Brooklyn. “I should have.” Resnick’s long hair and wide smile dominate the screen as she shuffles continuously around in her seat. “They say it’s a movement disorder,” she remarks. Though only diagnosed recently, the condition informed her portraiture in her heyday: her constant dynamism “evoked responses” in her subjects, cultivating a unique kind of energy in the room.
Resnick graduated from CalArts in 1973, before making the cross-country trip back to her native New York to take up a part-time teaching position at Queens College. She lived with a dancer named Pooh Kaye, paying just $70 per month each for an apartment on Bowery and Houston Street. In 1974, they moved to a fifth-floor loft just off the Hudson River with a swathe of fellow artists . Soaked in sunlight by day and the glow of a punk club by night, the place was a 2,000-square-foot bohemian dream.
For ten years, Resnick existed at the epicentre of an intoxicating period in cultural history; the era of New York’s downtown art scene. A punk at heart, she spent night after night at CBGB, Max’s Kansas City, and the Mudd Club, finding kinship in a community of fellow libertines; a “close-knit” milieu of painters, filmmakers, musicians and writers. They irrevocably influenced her art, and she theirs: “the scene” was her home and her muse.
After exploring herself in this way, she moved on to interrogate another subject she didn’t understand: men. A shift away from conceptual art saw Resnick turn to portraiture, often of people she met on nights out – and it was the ‘Bad Boy’ trope that fascinated her. “A Bad Boy doesn’t have to be the prototypical James Dean character. Or like Marlon Brando in. A Bad Boy is someone who has a special magic, who has charisma, and who braves living on the edge.
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