Art Review - March Issue - (Page 91)
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MELISSA GRONLUND Cheyney Quelques Aspects de l’Art Bourgeois: Le
Non-Intervention, 2006 installation view . Courtesy Andrew Kreps Gallery,
New York IN ADDRESSING PAINTING, THE NEW YORK ARTIST CHEYNEY THOMPSON
looks at the big picture, as it were – not history painting, but the
history of painting and its role in the socio-economic ainting, histor
field. Thompson systematically deconstructs how a work is created:
unpacking it into its colours, stematically stematically cr its its
establishment of perspective and its subject matter, and considering, as
well, its post-studio life of being packaged, exhibited and sold. Rather
than relying on textual material or general ackaged, foreknowledge,,
Thompson works with a sense of visual and spatial expansiveness that
suggests exploding, ecstatic discovery. He installed his 2004 show at
Andrew Kreps as if the gallery were very. y. wer a salon, covering the
walls with paintings of wooden structures, all pictured from di erent
angles. alls angles His 2006 show at the same gallery expanded into the
back room;; viewers had to peer o 06 oom over wooden tables to look at the
prints on display. For his 2006 show at Daniel Buchholz in Cologne, in the
installation The End of Rent Control and the Emergence of the Creative
Class, Thompson presented eight oil portraits of his landlords, a married
couple around sixty years old: four of the woman, and four of the man.
Drily titled 4 Colors Subtracting Light from the Room in 6 Degrees of
Intensity Repeated 4 Times 2006 , the portraits are rendered with a
virtuosity that belies their systematic origins: to create each, Thompson
used only the four colours of a photographic reproduction cyan, magenta,
yellow and black , varying their saturation and sharpness in each image.
They are surprisingly intimate – the woman posing self-consciously, the
husband sitting small on a pillow-filled couch – and, much like the
muted oil on canvas of a potted plant by a window The Subtraction of Light
from the Room Produces the Illusion of a Bourgeois Interior, 2006 ,
Thompson’s deadpan presentation of artistic rendering as formula is at
odds with the lyricism of the title and of the work on display. The
artist’s laying bare of the device presents painting in the gallery
space – which is to say, the marketplace – as a disassembled rather
than finished product, and squarely tilts at the art market: his plinths
are cheap folding tables, as used in the unregulated markets of street
vendors, and his subject recalls Hans Haacke’s photographic series
Shapolsky et al. Manhattan Real Estate Holdings, A Real Time Social
System, as of May 1, 1971 1971 . In replacing Haacke’s investigation of
the Harlem landlord Harry Shapolsky’s greed with a critique centring on
aesthetics, Thompson points his paint-stained finger at the art
market’s own unregulated, arbitrarily taxed, incomprehensible structure.
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Table of Contents for the Digital Edition of Art Review - March Issue
Manifesto
Dispatches
Consumed
Tales from the City
David Lynch
Marcel Dzama
Future Greats
Art Pilgrimage: Moscow
Mixed Media: Moving Images
Mixed Media: Photography
Mixed Media: Digital
Reviews
Book Reviews
On the Town
On the Record
Art Review - March Issue
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