Louis Cameron, “African-American Unity Flag (after Vincent W Paramore),” 2009, acrylic on canvas, 36 x 60″
Wendy White, “Dotte,”2010, acrylic on canvas, 82 1/4 x 96”
Marlene Dumas, “Charity,” 2010, oil on linen, 43-1/4 x 50-5/8″
Charlie Finch chewed out painters at artnet last week. His complaints? Marlene Dumas is vague and lazy, Jules de Balincourt is a perfect storm of bad painting, Louis Cameron is utterly awful, and Wendy White is nothing but a crappy sign painter. “I guess the rationale for aesthetic distortion to the point of entropy is that we live in a multi-valent, overstimulated technical world, so that it is simply amazing that any painter can make anything at all…. The background of this stuff is totally fascinating and the execution is utterly awful: washed-out colors badly painted to a brittle conclusion that undermines the strength and brilliance of the mimicked sources. But that description nicely summarizes Dumas, de Balincourt, White, and, dare I say it, Luc Tuymans as well. The soft, haphazard gesture beckons to the lazy collector and painting is reduced to nothing but shades of gray.”
Naturally, at Two Coats of Paint, we disagree.
“Wendy White: Up w/Briquette,” Leo Koenig, Inc., New York, NY. Through May 22, 2010.
“Louis Cameron: The African-American Flag Project,” A-20, New York, NY. Through May 1, 2010.
Why is Wendy White still beneath the radar?
The impossibility of painting and the equally persistent impossibility of not painting