By Matt Morris
Chicago’s traditions and innovations in painting are often oriented to bodies and problems with their deconstruction. Perhaps due to the Imagists and their successors, many of our ongoing conversations in visual production bear consequences of how bodies, individuals and populations are identified, relate to our environments and express desire. Several recently opened exhibitions of painting and painting-adjacent projects employ color, pattern, figurative representations and material excess to advance contemporary notions of bodies.
In Andrew Holmquist’s exhibition “Marco (Polo)” at Carrie Secrist Gallery, the loony cartoon characters who have starred in the painter’s earlier work are all but absent, replaced by wide swaths of color and needling line-work that correspond to the linear structure of “Armature,” a lemony, powder-coated steel jungle-gym sculpture. If there is a body present in many of these works it is the fantastical author capable of these gestural brushstrokes enlarged beyond human scale into commanding and mechanized übermensch sensibilities. Read the rest of this entry »