New York

Jim Nutt

Phyllis Kind Gallery

Perhaps now, while New York is looking at recent European and American figuration with interest, it will begin to realize that Jim Nutt, who took part in the original “Hairy Who” exhibitions in Chicago in the ’60s, needs to be reevaluated in light of the work he has been steadily turning out since the early ’70s. His depictions of encounters between the sexes are arguably the most inventive around, and unlike many younger “newfiguration” artists, he does not appropriate his images from the media. In probing our contemporary dislocations, our tendency toward confrontation rather than discourse, and our frayed images of ourselves, Nutt has accomplished what is difficult to do in a media-overloaded age—the development of a flexible, personal sign system.

Nutt’s most recent exhibition contained two kinds of work: drawings in colored pencil on toothless, de-acidified brown paper, and acrylic

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