Mark Greenworld's complexity

Murdering the World, Mark Greenworld's show at Sperone Westwater included paintings and drawings. Phong Bui reviewed the show in the Brooklyn Rail. Bui writes about the complexity of meaning in Greenworld's paintings...

he thrives on all things uneasy as they offer boundless potential subjects for his art. Either way, his works are remarkably contradictory to what has been cultivated in painting culture for at least the last three decades. 

In “A Jewish Couple” displaying the orthogonals and transversals of the perspective dictates the interplay between flatness and depth of the painting. While the two naked figures (the self-portrait standing in full-frontal view on the left with the head looking down towards slight left, and the female figure on the right, half-cropped by the bottom of the painting, leaning forward in three-quarter view) frame the space between them as much as inviting the viewer into the painting. Had Greenwold’s erect penis not moved to the left, parallel to the two arm rests of the sofa in front of him, the whole space would have been much less generative. (It would have been less interesting had he painted the above as a biomorphic abstraction rather than a geometric one.)
Also check out John Yau's review, Braveheart, for Hyperallergic.
Mark Greenwold, “A Jewish Couple” , 2013. Oil on linen mounted on panel, 22 × 28”

Mark Greenwold, “Good Fortune” (After Aristotle Ridden by Phyllis), 2013. Oil on linen mounted on panel, 24 × 33”


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