Jacqueline Humphries at the Whitney

Jacqueline Humphries silver paintings at the Whitney Biennal were gorgeous and elusive, they resist looking. I've posted a couple details of the surfaces below. Cecily Brown dives right in to that topic in an interview for Bomb Magazine
Cecily Brown Let’s talk about how your paintings discourage stationary viewing. They seem to want to be perceived from multiple points of view. The reflectivity of your silver paintings especially emphasizes the unfixed nature of things; do you think of them as having one preferred point of view? Or does that change as our physical relationship to the painting changes?
Jacqueline Humphries What fascinates me is how little I can control their behavior in new situations. An image will coalesce and then disintegrate, giving way to another reading that sort of comes out of the background. To me some parts of a painting appear as if you’re looking down at them from an airplane window; others might evoke something that you’re very close to which is out of focus, and maybe this is interlaced with forms that feel very distant, and crisper. The objective is to knit wildly varying perspectives into a unified space. Because of the way light reacts to the metallic paint, the paintings change as your physical relationship to them changes. I like the unstable situation that depends on the light and the viewer both moving around; the painting changes before your eyes. They’re impossible to photograph—there’s no “accurate” image. more
Jacqueline Humphries, installation view, Whitney Biennial

Jacqueline Humphries, 41/14, 2014 and Untitled, 2014 (installation view, Whitney Museum of American Art, New York). Collection of the artist; courtesy Greene Naftali Gallery, New York. Photograph by Bill Orcutt

detail, Jacqueline Humphries

detail, Jacqueline Humphries 
detail Jacqueline Humphries 


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