Los Angeles

Judie Bamber

Jan Baum Gallery

Judie Bamber’s hyperreal portraits of squished, oozing, or occasionally intact tiny objects would hold up well if scrutinized through a magnifying glass. Excuse Me For Living (Spearmint Freshen-Up Gum Whole and Squashed), 1988, is an itsy-bitsy piece of pillow-shaped gum painted in such detail that, in the diptych’s second panel, you see pin-prick-sized bubbles in the goo that’s leaking from the gum’s liquid center. A hapless canned cherry, perfectly rendered, bleeds a teensy puddle of juice in What Are You Lookin’ At?, 1989. In the diptych Closeness is Easier When You Are Far Away, 1988, a flesh-colored cervical cap appears in the first panel; it resembles a lonely thumb, casting its brave little shadow on a lush turquoise background. It’s gone in the second panel, leaving the turquoise field empty.

Bamber sets up a witty interplay between the three elements that comprise each of her

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