new-york

Cham Hendon

Phyllis Kind Gallery

Cham Hendon, the “Bad Painter” of lapidary surfaces, has moved from the land of American banalities to a more lyrically fictive realm. For several years he has synthesized portraits of the modern French masters and renditions of their work, but these earlier depictions were treated as cultural pinups, images likely to turn up, shrunken and color processed, in the empty hotel rooms and municipal offices for which his paintings were best known. Monet, for one, remains a stock presence in a couple of Hendon’s new works, but he is no longer simply a paragon for provincials as he walks guests through his Technicolor garden, or peers out through dark, cool shades.

The other paintings in this show are American scenarios that refer to American styles. A capsized Sunday sailor does the crawl in Escape from Bridge Hampton, 1983, a goosing of Neil Jenney’s late-’60s style; That Lovely Little War,

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