[Image at top: Josephine Halvorson, Woodshed (Door), 2013, oil on canvas, 70 x 35 inches]
Josephine Halvorson, installation view at Sikkema Jenkins.
Josephine Halvorson, Woodshed (Vine), 2013, oil on canvas, 36 x 28 inches.
A few doors down at Zach Feuer, Stuart Hawkins is less guarded about her point of view. Her disposition is arch rather than neutral, her subject not an older, plainer world but the current one in which artifice and consumerism (rather than individuality) reign supreme. Yet there’s no evident anger in the show, titled “Everyone Knows What It Looks Like” – just retro-modern suaveness. The fruit in her still life appears on the brightly-lit shelf of a crowded fridge, a glistening spigot arching over it. A window luminously mediates Hawkins's landscape, the hood of a car her skyscape, a cocktail her seascape. In Portrait of a Woman, a pink exercise ball occludes all but her legs.
Stuart Hawkins, Still Life of Fruit, 2013, oil on canvas, 72 x 54 inches.It would be too easy to call Halvorson po-faced, or Hawkins wise-ass. Their work is more complementary and convergent than these labels suggest. In mocking art-historical genres, Hawkins also smirks at their purported irrelevance and from a distance enshrines the sturdy, uncluttered world that Halvorson sternly records up close. Even a hipster loves a throwback – perhaps more than most.
Stuart Hawkins, installation view at Zach Feuer.
"Josephine Halvorson: Facings," Sikkema Jenkins, Chelsea, New York, NY. Through March 1, 2014. The exhibition is accompanied by a full color catalog with an essay by Tom McGrath.
"Stuart Hawkins: Everyone Knows What It Looks Like,” Zach Feuer, Chelsea, New York, NY. Through February 15, 2014.
The importance of language: Josephine Halvorson (2011)
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