New York

Kim Dingle

Sperone Westwater

Not so long ago, angry women were all the rage, and, for Kruger, Holzer, et al., it was a clean burn. Kim Dingle belongs to that same generation, but in her case the emotions are messier and the work rejects any slickness. Not only is there nothing to read in the works, the messages are downright preverbal.

Dingle’s exhibition included one sculptural installation and six large paintings covered with the figures of girls and horses and decorative motifs like ivy all painted in a beautiful ultramarine, with bits of raw canvas peeking through. Both the all-over pattern paintings and the monumental central compositions share the same fluffy brushwork and white impasto touches of the rococo. Other artists have resurrected academic, low, or just plain unfashionable art in order to challenge modernist values of intellectual, formal abstraction or purity, as if looking to prove that nothing is too

Sign-in to keep reading

Artforum print subscribers have full access to this article. If you are a subscriber, sign in below.

Not registered for artforum.com? Register here.

SUBSCRIBE NOW for only $50 a year—65% off the newsstand price—and receive the print magazine plus full online access to this issue and our archive.*

Order the PRINT EDITION of the February 1999 issue for $17 or the ONLINE EDITION for $5.99.

* This rate applies to U.S. domestic subscriptions.