Tony Toscani’s signature thimble-headed and elongated-bodied figures went viral on IG, which is fitting, as he paints a future in which digital lives have replaced human interaction. Read our interview with the artist, here:
The painting that started blowing up the artist Tony Toscani’s Instagram notifications a year and a half ago depicts an anonymous, morose-looking man with a comically small head. He clutches a cup of coffee and stares into what seems like an unending abyss. I’m not at all surprised when I stop by Toscani’s studio in Crown Heights, Brooklyn, once he says that, in his mind, the man is actually staring into a computer screen.
Toscani, 35, grew up in suburban New Jersey, not far from lakeside vistas like the ones he often depicts. When he wasn’t going to punk shows in Philadelphia and New York City, he was thinking about the themes that now recur in his work—monotony and despondence most chiefly among them—but expressing them through music. He found painting to offer the same type of “visceral” experience as music when he was studying at St.
“One minute, you have this antiquities-era Greek head, and then you put that down and you’re running to Contemporary and hanging a Warhol for a private viewing,” Toscani recalls. He left, in 2015, with a herniated disc and an uncomfortable awareness that what he’d thought of as a scene was really an industry. “I learned a lot about the art world, and about people in general,” he says. “And I think that’s what made me really get into people more, because I had never painted them before I quit.
Like the rest of us, Toscani has had more than enough with isolation—including within his practice. The pandemic took hold just as he was getting “really hot and heavy” into depicting relationships and human interaction. “As soon as I did the last stroke,” he says, pointing to a painting that will be on view in “Isolation” that depicts a scene of a crowded Art Basel booth, “lockdown happened.
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