new-york

Megan Williams

Bravin Post Lee

With her two previous shows devoted to drawing, this exhibition of paintings represents both a departure and a challenge for Los Angeles artist Megan Williams. In making the transition to painting, she joins Sue Williams and Kim Dingle, among other satirically engaged artists, in stepping up from the ostensibly small-time school of drawing, where women have traditionally been welcome to amuse themselves, and entering the ring with the brush-wielding fraternity of figurative painters.

The biggest departure in these works of the past two years is one of scale. Williams’ paintings look like large drawings: they’re dry in appearance, with the shadowy colors and thin, crumbly surfaces that immediately evoke the artist’s pastels. Her cartoon style remains intact as well, but it is made gargantuan, as are the now-familiar cyclones, satyrs, and masturbators that animate her art. This enlargement

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