Paris

Peter Zimmermann

Galerie Emmanuel Perrotin

It might not be easy to see past the highly reflective surfaces of the works in Peter Zimmermann’s recent show “Reliance,” but when you do, you are pulled in by the layers and layers of color and light trapped in hardened pools of epoxy resin, each tinged by the strata above and below. Zimmermann’s paintings are stunning—and yet they look hideous in reproduction.

Rare, of course, is the painter who fails to claim that his paintings don’t photograph well; it would be a sign of bad painting if something weren’t lost in the process. But in Zimmermann’s case, the gap between what can be painted and what can be photographed is not about painterly ego; rather, it points up the work’s subject. The sources for his paintings have shifted from book covers in the ’80s to reproductions of his own earlier work in the late ’90s, and now, increasingly, to found images from the Internet, the modern-day

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