new-york

Jim Nutt

Phyllis Kind Gallery

Ever since gaining recognition in 1966 for work included in the first of the “Hairy Who” exhibitions, Jim Nutt has shown a decided preference for painting and drawing on the smoothest available surfaces—glass, toothless brown paper, Masonite, and wood. Nutt seems to like the challenge presented by these mediums. His highly determined approach is the result of integrating a rigorous process with a highly focused attention to details of color, tone, and light. The world he depicts is one of extreme scrutiny, a place where chance and accident are virtually banished. Consequently, the taut, glowing skin of Nutt’s recent paintings formally echoes the subject matter: imaginative portraits of individual men or women gazing into a mirror. The world he depicts is sealed off by the glossy acrylic medium. A face stares into a “mirror,” which is actually the painting plane itself, its surface bounded

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