Evidence of deconstructing form and then “healing” those breaks was apparent in the yellow and pink adhesive substrates bleeding through the crevasses of incisions.
Few previous painters were capable of challenging and disturbing the consumerist mentality and self-satisfaction of the middle class and the economic and social systems that sustained them.
The alchemy of using a fragment of a scan of parsley to represent a forest was a revelation.
The readmission of artists like Grant Wood into high art discourses may open the door to many more types of representation, inclusive of many more places, lives, and subjectivities.
Within a year of exhibiting it, he would never paint like this again
The woman and man are eternally bound in a psychopathologically perverse interpretation of yin and yang.
Little popcorn puffs or higher, more distant, cirrus… a shorthand for how the duration of a painting allows for some time.
I was struck by Pippin’s preference for angular, even knife-like, shapes and harsh environmental contrasts
One man is found pulling leaves from a stem, as if counting down time. Another man stares longingly at a pile of petals.
Its minimal linear elements raced around the side of the canvas and played with my expectations of where paint would normally be.
“Less is less, and more is more. No more, no less.”
There is almost a metaphysical postponement of finish throughout these portraits, a hesitation as if waiting for an informant of the future to complete them.