G Fine Art
Ian Whitmore paints skillful pastiches of decadent, rococo confections, sprinkling them with gestural abstraction and hints of Koonsian kitsch. His cauldron of references contains essences of, among others, Cecily Brown, Karen Kilimnik, Richard Prince, and Sue Williams, but though Whitmore exploits recognizable images and styles, he also claims to embrace a degree of ambiguity not always associated with the practice, and to want viewers to question both what they see and the sincerity of the artist. Until now, his efforts have been both clever and visually frothy, but have seemed headed toward conceptual lethargy.
Whitmore’s recent exhibition, “Honi soit qui mal y pense” (Old French for “Shame upon him who thinks evil of it,” the motto of England’s elite Most Noble Order of the Garter), extended the artist’s grab-bag aesthetic, but evinced an increased intellectual maturity via works that
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