new-york

Louise Fishman

Lennon, Weinberg, Inc.

Like a number of other current painters, Louise Fishman makes brushstrokes themselves the figures of her paintings. But where David Reed, for example, sculpts his fetishized brushstrokes into smooth, sinuous forms, Fishman keeps her marks raw, direct, seemingly unmediated in their record of their own making. Brushy, with hints of undercolor coming through their broken-up surfaces, these broad strokes—usually limited to verticals and horizontals, echoing the edge of the canvas—necessarily suggest veils. Like membranous planes, they separate the painting’s surface (where the image resides) and its depths (where space, and thus representation, lurk). Not that these paintings, for all their formal play, are free of allusion. Fishman herself has related a recent group of paintings to a trip to Eastern Europe in which she visited the sites of a number of Nazi concentration camps. The somber

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