The painter’s true subject is no longer what he paints but the very fact that he paints. He paints the fact that he paints. At least in that way the idea of art remains intact.
-Jean Baudrillard, ‘The Intelligernce of Evil, or the Lucidity Pact’
GRAHAM is pleased to present Detail Oriented. The earliest work included in the exhibition is dated circa 1890. The latest works are dated to 2013. The basis of the show is to draw straightforward connections from representational painters active around the turn of the 20th century to the representational American paintings of today.
John Joseph Enneking’s Red Mill is a small impressionist painting of a brick mill building in the distance. On Enneking’s canvas a chimney is a small single mark. The Chimney paintings of Corydon Cowansage fill the canvas with precisionist close-ups of near life size chimneys.
Sergeant Kendall’s Narcissa is a classical portrait of his daughter draped with a green ribbon. Hilary Doyle sculpts a painting of a draped towel out of canvas and paint reminding us that the longer we gaze at something the more depth it accrues.
Gregory Botts paints landscapes on site as he travels across the country. He then takes them back to his studio and uses them as inspiration for blown up and re-organized perceptual quilts.
The painter’s role in America has changed drastically over the past 100 years. Although it may help to have a 9 eyed camera on a truck snapping source photos from multiple vantage points like David Hockney, there are painter’s out there using two eyes to make paintings that can enrich us by sharing there different point of view on the everyday.