March 4–April 15, 2006
You get it? That “it” is the punch-line to the joke, the plot of the narrative, the moral to the story. With this latest group of paintings at 303 Gallery, Inka Essenhigh wants to make her points clear and tell her stories more explicitly. To those ends she is probing the boundaries of one of the last taboos of advanced contemporary painting, “illustration.” In our weird world, for an image to carry more literal content, it seems bound by the physics of perception to devices most closely associated with realism, namely perspective, chiaroscuro, modeling, etc. In Essenhigh’s case, with her stretched, bending and undulating forms, there are the added requirements of the highly delineated detail, the sleek contour and the precisely illuminated blob in creating her believably Surrealistic illusions.
Over the past several seasons we have witnessed a satisfying, if at times troubling, course change in Essenhigh’s development. This might be due to the fact that she emerged early on as one of New York’s freshest hopes for painterly stardom, and as such her artistic, business and social circumstances—like the affairs of starlets on the covers of supermarket tabloids—are under constant public scrutiny. Perhaps with these paintings it’s payback time, her opportunity to poke at the gawkers. But in doing so she has individuated the more ambiguous characteristics of her figures into sharply articulated—though distorted—faces and bodies, injecting cheesy humor into images that had heretofore retained an abstract reticence. Peter Saul’s garish, bulbous and contorted comic figures come to mind. However, whereas Saul’s pictures carry the brash, flatfooted excesses of Proto-Pop and the Katzenjammer Kids, Essenhigh’s wacky images possess a distinctly feminine sensibility—a kind of fantastically mannerized Rocco, a Middle-earth Elfin princess with a mischievous attitude.
Since switching from the glossy enameled finishes and subtle designer color schemes that brought her initial recognition, Essenhigh has maintained her immaculately homogenous surface and crisp rendering through a traditional matte oil medium. Each picture is keyed to a specific range of analogous hues. Contrasts are achieved through tonal rather that chromatic variation. In “Setting Sun” (2005) a jubilant figure strides forward through an arcing curtain of greenish-yellow light, a glowing mass of Art Nouveau tentacles at the apex of the arc illuminating the scene. Long undulating leaves, curling elongated feet and an overall murky, sea-green cast all lend the impression of an underwater tableau as seen through the plate glass of an aquarium.
These new works, rather that embodying notions of taste, fashion, and style, have instead passed through these criteria like a Trojan Horse to a more subversive and satirical content. With her eye for the telling detail, Essenhigh uses these concepts to parody and lambaste those for whom they are still relevant. In “Wrestlers” (2005), under the vast dome of a beige-brown sports arena, an enthralled female spectator watches grapplers from a corner of the ring. The length of her beautifully manicured, curling pink fingernails reduce her hands to mere decorative claws, echoed by the shoulder straps of one contender’s leotards as he struggles in knotted conflict. Is this a jab at fashion affectations that approach the life threatening, or at our culture’s infatuation with the grand spectacle of phony combat?
A hard driving go-getter in his summer whites dashes through “Subway” (2005). His nose held high, he seems to melt his way down a staircase to jump into a subway car, cutting through a milky tide identifiable as other human beings only by a looming, exposed butt-crack and scurrying feet stuffed into conical, torturous-looking shoes. The prominence of the seductress with her low-slung waistline and comically exaggerated haunches implicates the viewer in this episode of everyday voyeurism as much as it lampoons the casual exhibitionism of the gaze’s unobscured object of desire.
The best social critique ought to be so sharp that the pain isn’t felt until the scalpel is pulled out. Through her technical prowess and stylistic panache, Essenhigh has attracted a considerable following; are her bursts of satirical shrapnel mangling the hand that feeds her? To tabulate her current effectiveness, do we need to take a fashionista body count?
JAMES KALM has written extensively on the Brooklyn art scene. In 2006 he began posting video reviews of local art exhibitions at his two YouTube channels that have generated over six million views.
Margaret Atwood’s Old Babes in the Wood: StoriesBy Yvonne C. Garrett
MARCH 2023 | Books
Margaret Atwoods first fiction since 2019s Booker Prize winning The Testaments and her first story collection since Stone Mattress (2014), these fifteen stories are a master class in how to write, a rollicking good time, and a deep exploration of human relationshipsthe damage we do to each other and the ways we come together.
Pat Steir: Paintings, Part IIBy David Rhodes
SEPT 2022 | ArtSeen
After arriving at the gallery, located on the Via Francesco Crispi, a short walk downhill from Berninis Palazzo Barberini, I needed a few seconds for my eyes to adjust after the August sunlight outside. Then, the full subtlety and clear radiance of these cool, austere paintings had full effect. This second iteration of a two-part summer exhibition by Pat Steir comprised eight paintingssix predominantly red, yellow, and blue on black and two white on black.
David Novros: PaintingsBy David Rhodes
NOV 2022 | ArtSeen
Altogether, architectural features are recalled and a connection between the painting and the room is activated. This is what is at stake. Moving among the paintings the gallery becomes an active environment, like a chapel with frescoes.
James Brooks: Rendez-vous Paintings 1972–1983By Robert C. Morgan
JUL-AUG 2022 | ArtSeen
Although I have encountered the paintings of James Brooks sporadically in various group exhibitions focused on Abstract Expressionism, it has been relatively rare to encounter his works shown together in a context all their own. As such, the collection of works included in the current exhibition from the 1970s and early eighties suggest a somewhat timely occasion, providing the uncommon opportunity to understand Brooks solely through his own work and ideas.