Annette Bezor

Luba Bilu Gallery

The self-consciously accessible textuality of Annette Bezor’s paintings is the source of their ability to fuel an active dislike. For “Imago Ignota,” her recent exhibition, Bezor presented images of the female body: of herself or her friends, naked in the poses of traditional art; of the faces of famous women; and of women glimpsed asleep or in sexual ecstasy. Many viewers find Bezor’s construction of upbeat feminine confidence more presumptuous than profound. Since she implies a (male) audience that will find her works both sexually exciting and challenging, Bezor is unable to hypothesize other likely witnesses—ones who see overwritten texts and subjective conjunctions. Her images flicker over the visual field like actors across a television screen. The subject of Large Head in Clouds, 1991, is superimposed onto a mottled field of autumn-leaf stains and framed by a blurred, brushy

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