Digital screens, halftone dot patterns, emoticons, and other typographic symbols comprise the imagery in Jacqueline Humphries’s new series of large-scale paintings on view at Greene Naftali through June 20. Once considered a Provisional painter, Humphries’s new work is anything but contingent. Slick and resolved, the enormous canvases are layered with stencils and screen prints so as to create the densely comprehensive patterns that we have come to associate with digitized information.
In older interviews, she describes “destroying the painting” and scraping away to find an image, but here the process is decisively additive. The images result from accumulated layers. Visually, they recall Christopher Wool’s screen print paintings, (some of which are on view at Luhring Augustine in Bushwick), but Humphries employs vivid color where Wool prefers bitmappy black and white. Many of the paintings begin with a layer of the silver paint that Humphries has been using for the past few years to give the paintings a kind of flickering, cinematic light that is difficult to capture in photographs. Her use of pattern and color draw our attention in the same way that we are drawn into our ubiquitous computer screens.
yielded to higher production values and assured bravado. This is a handsome series of
paintings, and very much of the moment.
Quote of the day: Jacqueline Humphries (2011)
Two Coats of Paint is licensed under a Creative Commons Attribution – Noncommercial-No Derivative Works 3.0 United States License. For permission to use content beyond the scope of this license, permission is required.
Two Coats of Paint is licensed under a Creative Commons Attribution – Noncommercial-No Derivative Works 3.0 United States License. To use content beyond the scope of this license, permission is required.