Leidy Churchman at Reena Spaulings

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"the 'manure of experience.'"
"an 'extraordinary junkyard' of symbols,"
"a disconcerting heterogeneity at first glance,"
"individually rich but collectively inscrutable."

Leidy Churchman at Koelnischer Kunstverein

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"Heterogeneity" in painting, the lack of identifiable style, of painterly identity, that has become increasingly common, shifting subjects, means and themes, we find still neurotic - still being mentioned in PR. It's conversant spectacle, finger to the viewer, who is asked to sort it out. This avoidance of identity, could be argued as an abdication of responsibility, but like the fish before left well enough alone, the distance asks for understanding that we aren't required to, and can't, know, take each painting as individuals rather than as groups of things we already presume to understand.



See too: Allison Katz at Gio Marconi, Adriana Lara at Algus Greenspon, Annette Kelm at Gio Marconi, Leidy Churchman at Rodeo

Leidy Churchman at Rodeo

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Painting representation fails. The plainness of Churchman's depiction is a respect to the source material, a non-compete clause showing deference to the object it can't fully contain or conjure. A fish swims, it shouldn't be the wild fanciful object of some painter's heinous desire. Showing it some respect by leaving it well enough alone, plainness acknowledging the representation that can't do justice to it. Painting treatments like massage to soften the body presented. Like any of Paul Thek's paintings of the Earth hovering over black unarchival void, the distance is homage. PR:"we are so afraid of the brilliance coming at us, and the sharp experience of our life, that we can’t even focus our eyes."

See too: Trevor Shimizu at 47 Canal