Noah Becker's whitehot magazine of contemporary art
0

May 2011: Jim Shaw: Cakes, Men In Pain, White Rectangles, Devil in the Details


Jim Shaw, Cake (Blake), 2011
Oil on digital ink jet print and acrylic & ink on panel
Painting: 37-1/2” x 37-1/2” (95.3 x 95.3 cm) = 1,406
 

Jim Shaw, Cake (Blake), 2011
Oil on digital ink jet print and acrylic & ink on panel

Panel: 22” x 10” (55.9 x 25.4 cm)

 

Jim Shaw: Cakes, Men In Pain, White Rectangles, Devil in the Details
Patrick Painter, Los Angeles
2525 Michigan Ave, Unit B2
Santa Monica, CA 90404
May 6 through June 17, 2011

 

Jim Shaw suffers from “monumentality,” having created an incredibly boisterous, all-encompassing, mind-bending, hell-raising, alternately tender and fierce group of epic paintings in his most recent exhibition entitled Cakes, Men In Pain, White Rectangles, Devil in the Details.

Working with several different ideas at once, Shaw has managed to combine important disparate elements, the first being an ink jet print taken from vintage ‘50s household magazines depicting decadent images of cakes. Shaw uses oil paint to, as he puts it, “overlay the images, using an Abstract Expressionist trope;” and the third element involves Shaw’s fascination with the medical illustrations of Dr. Frank Netter, which portray, again quoting Shaw, “the intersection of the physiological and psychological experience of pain with the individual’s physical response.” Imagine the fascinating shock of a man sitting down at an upscale restaurant for what he thinks will be a groundbreaking interview with a prestigious international magazine, only to find himself burned alive with a blowtorch.

The power inherent in these paintings derives from Shaw’s unflinchingly humorous self-analysis, as he frequently uses his own body as a subject. In the compelling panel Jim, (Anger, Frustration), Shaw shutters and grimaces even as his belly grossly protrudes into the picture plane. The image is seductive, too, as Shaw’s grotesqueries transform into an amalgam of deliberate theatrical misfires. Each of these panels is “missing” a piece of itself, Shaw having excised their central units and placed derivations therefrom alongside, which frankly read more like acts of hysteria than explanations. The overall effect of these paintings is well-fashioned and ribald humor on the edge of madness.

 


Jim Shaw, Cake (Daniel), 2011
Oil on digital ink jet print and acrylic & ink on panel
Painting: 37-1/2” x 40” (95.3 x 101.6 cm) = 1,500

 

Jim Shaw, Cake (Daniel), 2011
Oil on digital ink jet print and acrylic & ink on panel
Panel: 19-1/2” x 10” (49.5 x 25.4 cm)



Jim Shaw, Cake (Daniel), 2011
Oil on digital ink jet print and acrylic & ink on panel
Painting: 43-3/4” x 39” (111 x 99 cm) = 1,706
 

Jim Shaw, Cake (Daniel), 2011
Oil on digital ink jet print and acrylic & ink on panel
Panel: 16” x 13-1/16” (40.6 x 33 cm)



Jim Shaw, Cake (Blue Jim), 2011
Oil on digital ink jet print and acrylic & ink on panel
Painting: 37-1/2” x 51” (95.3 x 129.5 cm) = 1,912.
 

Jim Shaw, Cake (Blue Jim), 2011
Oil on digital ink jet print and acrylic & ink on panel
Panel: 14” x 14” (35.6 x 35.6 cm)

Eve Wood

Eve Wood is both a critic and an artist. She was represented for five years by Western Project and before that at Susanne Vielmetter; Los Angeles Projects. She has exhibited her work at numerous galleries including Angles Gallery, The Huntington Beach Museum of Art, The Weatherspoon Museum of Art etc. Her art criticism has appeared in many magazines including Flash Art, Artnet.com, Tema Celeste, NY Arts, Angelino Magazine, Art Papers, Bridge, ArtUS, Art Papers, Artweek, Latin Arts.com, Art Review and Artillery. She is also the author of five books of poetry and one novel.


view all articles from this author

Reader Comments (0)


Your comments. . .


Your First Name (not shown):
Your Last Name (not shown):
Your Email Address (not shown):
Your Username: