Jonathan Podwil

The art historian Gertrud Koch once characterized Gerhard Richter’s famously fuzzy-edged technique as the “Richter-scale of blur.” I thought of this phrase when viewing Jonathan Podwil’s recent exhibition of painting and film. The artist’s still and moving images feature scenes in which people and objects make their way across the expanse of the frame, with the “blur” factoring heavily in determining a moment between motion and stasis. Yet Podwil’s images operate within a plodding register of animation that calls attention to the tactile qualities of film rather than commenting on painting’s long-fraught relationship with still photography. Dividing the show into two adjacent rooms, he allowed for simultaneous visual access to both sides of his practice from a single standpoint. One room contained four DVDs projected directly onto the walls, while the other housed seven small paintings.

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