reviews

  • Karin Davie

    Turner & Runyon

    Karin Davie’s work from earlier in this decade includes stripe paintings that goof on formalist rectilinear geometry with self-consciously feminizing Op-art bumps and bulges. Her series of 1993 “Odalisques” on parallelogram stretchers resemble brushy, pastel Bridget Riley paintings; the trapezoidal “Skirts” works have vertical bands that appear to swell like a pregnant belly. Davie’s body of work doesn’t exactly illustrate Dave Hickey’s essay “Prom Night in Flatland,” but it clearly illuminates some of his ideas about the masculinized discourse of Modernist pictorial space.

    While Davie’s previous

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