Joanne Greenbaum at Richard Telles

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the confusion of painterly terms, parsing the difference in Greenbaum's marks between accident and expression, calculated or automatism. The categories get blurry, Sherman Sam: "which in another era would have been construed as the struggle between the intellect and the romantic." But Greenbaum seems to defy more categories in regurgitating expressive modes, flaunting its social codes like any good hysteric would. The hysteric was made to believe they were irrational, crazy, but they were, really, simply not fitting into the the mores of stifling polite company, even Pollock's "expression" contained within "painting" but these are always teasing something that we might find repulsively not-painting, irrational.

Joanne Greenbaum at Crone

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The proto-modern gentility balanced with an undercutting maximalism, like a dog having found the birthday cake to lay it out once again on the patterned rug.
Awkwardness is the contemporary expression of painting “critically;” by denying the logic of painting’s normal order (taste) it infers a strategy not commanded by higher powers but an immanence, the human subject, "dysmorphic", without returning to an expressivity, inferring an idea or conceptualism. It’s the result of the schizo positioning of painting today, in which everyone wants a subjectivity expressed but no one wants human expression. The hysteric is the ability for the human to appear through the grate of order; social, relational, capital, or artistic.

See too : Zak Prekop at Shane Campbell