Russeth writes: "Humphries’s work almost always feels like it could only be made right now, but her newest paintings are blanketed with especially contemporary signs: emoticons. (Another unusual sight in art.) She uses an industrial-grade cutting machine in her studio to punch the little guys into plastic stencils, which she uses to apply symbols onto canvas in dense grids. At a distance, you can’t quite make them out—they look like tiny dots, or maybe some sort of abstract map—but then you get closer and realize what you are looking at: :-) :-) :-) :-) :-) :-) :-) :-) :-) :-) or :-/ :-/ :-/ :-/ :-/ :-/ :-/ :-/ :-/ flying across the picture plane over flat slashes of color."
Sharon Butler blogs about Jacqueline Humphries at Greene Naftali, New York, on view through June 20, 2015.
Butler notes that "Digital screens, halftone dot patterns, emoticons, and other typographic symbols comprise the imagery in Jacqueline Humphries's new series of large-scale paintings... 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."
Schwabsky writes: "For a long time.. the abstract painter had to negotiate the anxiety that he might be doing or showing too little; more recently he has also had to worry about doing too much. Yet between the two extremes there has always been a sweet spot where a little and a lot, austerity and sensuality, have coalesced." Schwabsky finds this "between" In the work of both Whitney and Humphries.
Paul Soto interviews painter Jacqueline Humphries about her work on the occasion of a recent exhibition of new paintings at Greene Naftali, New York.
Humphries remarks that in a "passage about the stylistics of film noir [Paul Schrader] talks about how the character, or figure, in noir films, is unlike the figure in Western or gangster films, where you have a vertical figure against a horizontal background that he stands out from. In film noir, the figure is completely collapsed into the picture. His face is often in shadow when he is speaking, and he is completely embedded in the atmosphere and light of the frame. Schrader says something else that is interesting, he says, 'No figure can speak authoritatively from within a space that is continually being cut into ribbons of light.' I feel this statement captures something that I am after in the paintings, of complete embeddedness, with a sense of the painting itself as figure, conterminously layered on top of and under the ground. The ground is the figure, background is identical to figure."
Caleb De Jong reviews an exhibition of new paintings by Jacqueline Humphries at Greene Naftali, New York, on view through April 28, 2012.
De Jong writes: "Splayed outwards, Humphries centripetal compositions reference nature in their all over, structurally organic chemistry. Lacking clear chromatic referents to nature, Humphries' paintings instead operate independently of a clear representational imperative. Stark, bold and clear, Humphries' paintings sponsor the experience of the changeable conditions of nature, and perception itself."
Edited by artist Brett Baker, Painters' Table highlights writing from the painting blogosphere as it is published and serves as a platform for exploring blogs that focus primarily on the subject of painting.