Los Angeles

Kirsten Everberg


Surely LeRoy Neiman’s sin—committed in the early 1950s, at the apex of Abstract Expressionism, and ensuring him a career of scorn—was to convert the hallmarks of painters like Franz Kline and Jackson Pollock (the splash, slash, dribble, and daub) into a signature for spasmodic expressionist/impressionist pictures of everything from Playboy bunnies to sporting events to presidents. To use Greenbergian language, Neiman pandered to the masses by reducing the avant-garde to kitsch.

Kirsten Everberg’s paintings of White House interiors, modernist buildings, and ancien régime décor and monuments, made by smearing and carefully dribbling enamel to form images that appear to congeal before one’s eyes, seem made to elicit a very different response. With their flirtation with Neimanesque kitschiness in this post–Gerhard Richter, post-painting, post-critique-of-representation climate, and with the

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