Wayne Gonzales

Almine Rech Gallery | Paris

I can still remember Wayne Gonzales’s series of paintings constructed around the figure of Lee Harvey Oswald and the Kennedy assassination, shown in 2001 at the Paula Cooper Gallery and at the Consortium of Dijon. Of particular note was the juxtaposition of paintings of an acid pink and yellow ad for Jack Ruby’s nightclub, a stripper who looked like Marilyn Monroe, and a ballistic diagram from the Warren Commission report (Magic Bullet Theory, 2001)—so many postphotographic indices of a history already constituted yet still in fragments. Far from the tidy narratives of Oliver Stone in his film JFK or James Ellroy in his American Tabloid, the “narrative” constituted by these paintings was shot through by doubt, fragmented by the sequencing of the canvases and rendered illegible and almost abstract by webs of pixels and dots à la Sigmar Polke: historical painting, then, not as truth but as

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