los-angeles

Joe Goode

Nicholas Wilder Gallery

Joe Goode’s new pictures are skies, variously tinted and configured, on which are rendered torn Kodacolor prints of other skies, sometimes accompanied by spills of paint; the juxtapositions set up spatial multiplicities (paint surface, illusion of main sky, photo-on-canvas, illusion within photo, etc.) as well as Pirandelloesque literary puzzles sucked in. Goode’s technique is full: the principal skies are scum-bled creamily, the prints are barely outlined in pencil, and the photo-skies are dashed off in facile shorthand. Goode is commonly compared with Ed Ruscha because the two came out of Chouinard in 1962 and practiced the same polished California Pop. Increasingly, Goode seems the more theoretical—his painting is more unfinished, his ideas more austere, less pretty, less jokey, slightly disturbing, like the staircase show. The business is so underplayed that Goode’s framing

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