Tathata is a Buddhist sentiment that translates roughly to the suchness of things. In practice, its trying to understand the essence of something before words can circumscribe it. For forty years, Ouattara Watts has similarly resisted being assimilated or codified. His exhibition Paintings, currently on view at Karma, reveals a dedicated and thoughtful practice of painting that can only be achieved through the experiences of a world traveler.
What is exhaustible versus what is inexhaustible comes to mind in Nicky Nodjoumis We the Witnesses at Helena Anrather. Newsprint is exhaustible. The images that circulate within newspapers, the ones that swarm around events, elicit quick shocks of something limbic but rarely have permanence past the next days issue.
Jarrett Key is interested in the slow, germinating speed of folklore and the gradual repetition needed for world-building.
Danica Lundys exhibit Three Hole Punch potentially offers an alternative response to a post-humanist painting practice through an intentional multivalent painting.
Raymond Saunderss current solo exhibition at Andrew Kreps presents a series of gripping assemblages, hung on the walls like excavated fragments. The individual configurations might be referred to as slabs, panels, boards, or slates. However, thinking of the works instead as decks of culture or rafts of visuality may lend us a better lens for interpreting the work.
You feel the parallels between the aesthetic endgame of painting and American decline itself when you walk into Mike Shultiss Animal Crackers at ASHES/ASHES.