New York

Kim Dingle

Jack Tilton Gallery

Surrounded by teddy bears and lawn geese, chubby baby girls romp against cheery wallpaperlike grounds in Kim Dingle’s series of paintings, “the priss papers,” 1994. But Dingle isn’t after a storybook, nurseryroom atmosphere. These pictures are lushly and pleasurably naughty—a sure sign that somebody has been toying with desire. This is not the work of a well-behaved artist who colors inside the lines. Taking the girlish activity of drawing into the traditionally masculine realm of painting, Dingle’s line is all sensual brushwork. This hybrid of drawing and painting makes for unconventional imagery that takes on an engagingly illustrative, even decorative, appeal.

While infants have long been deemed suitable subjects for women artists—most famously Mary Cassatt-they have traditionally been represented in a state of bland innocence. Dingle wreaks havoc with such standards. Her babies are

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