New York

Michael Economos

Warren Benedek Gallery

In his Realist paintings of crushed cans lying in long grass, Michael Economos reanimates the can as an image with a nod to Andy Warhol’s 1962 torn and damaged Campbell’s cans. But whereas Warhol’s garbage is raw, and his cans ripped by human agency, Economos’ have been turned over to nature, and their rusted surfaces reveal the passage of time. 

One painting sets up the show in a loosely cartographic way: a long aerial view of a Budweiser can lying at the end of a mud promontory which juts into a shallow stream with a grassy bank. In a corner of the work, a folded brown form appears which is apparently repeated in the adjoining painting. Economos doesn’t repeat forms again, but this initial instance seems to imply a common locale for the rest of the paintings, and makes the exhibition a coherent whole. The single, long view—the rest of the cans are painted quite close-up—also effects a

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