New York

Kevin Sinnott

Bernard Jacobson Gallery | New York

While the technological imperative has become increasingly tarnished, the old imperative of human expressivity seems to have been going through a revival of sorts in recent years. One can understand Kevin Sinnott’s pictures as part of that revival. One of their distinctions is that they focus expressivity not through the single figure, whose physiognomy is exploited to often grotesque effect, but rather through the tension in human relationships. This tension is made palpable not simply through intense glance and gesture (although that is half-satirically evident in Fame, 1986), but through the spatial relationships between the figures, as in Two Figures on the Bench, 1986. Rarely in recent years has the ambivalenceattraction/repulsion—of human relationships been articulated so forcefully yet subtly. Even when Sinnott depicts violence, as in Sea Battle, 1984, the staging of the closeness/distance

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