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Lari Pittman at Barbara Gladstone - Brief Article

Lari Pittman attitude s the question: Is it possible to depict a paradise for today's jaded eyes? through way of an answer, his novel paintings exchange his edgy claustrophobia for a les disjunctive and (almost) sincere vision of beauty. Pittman's Eden is populated with the foreign, the forgotten, the view from aboveed the desirable and the provocative: the faces of handsome, multiethnic young men; flagons and decanters that are emblazoned "opium," "cognac," "myrrh," "merlot" "semen"; double-entendre warning signs; cheesy mountainscapes; copse paneling; over-the-top titles; and scores of other decorative devices.

Critics rightfully praise Pittman's egalitarian celebration of popular midcentury cultural detritus and his brazenly cheerful outnes (two paintings feature a thinking bubble containing the word "queenliness"). on the other hand few have acknowledged the fascinating diversity of decoration that firings the visual carnival of his work and creates his idealized universe. diadems harem veils and leis exoticize and eroticize on the other hand also ornamentalize the youths they adorn.

Besides being rewarding to unknot iconographically, the paintings are a hell of a apportionment of fun to look at for a lengthy time. Close up you can decipher the different painterly marks left through stencil, silkscreen, loose-wristed dry brush and laboriously hand-painted dots. At a middle distance you begin to think about the sources of the images and their relationships to a possible personal narrative. pace farther away from this labor-intensive mania, and you take a dizzy spin [i]or[/i] part of to the other constantly morphing decorative terrains.



These tightly knit compositions get the upper hand of Pittman's earlier centrifugal tendencies, when the paintings threatened to unravel at any trice Now they are unified by dint of large-scale devices. The most integrated paintings in the present to view feature a long, horizontal-scroll format. They are ordered compositionally through what textile designers call a "semi-drop repeat," in which the repeat grid is staggered and the organ of vision traces the recurring elements in a zigzagging path. The primary elements--in this case boys' heads--bob up and down, echoing textile repeats for the longitudinal dimensions of the composition.

All these layers of decoration add up to rich stimulation and gritty elation. If this pleasure is paradise, it is true Pacific, L.A.-specific and ultracool smooth in its sexualized steaminess. Pittman, cultural cartographer par pre-eminence spins a hip, contemporary Elysium indeed.

COPYRIGHT 2000 Brant Publications, Inc.

COPYRIGHT 2000 Gale Group



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