los-angeles

Jutta Koether

Susanne Vielmetter Los Angeles Projects

Regardless of one’s expectations of transparency, glass can be a deceitful, paradoxical material given to both illusion and allusion. This became apparent with the twenty-eight-foot-wide wall of glass (with white, painted wood edges) that served as a support for a dozen paintings in Jutta Koether’s third solo exhibition at Susanne Vielmetter, “Sovereign Women in Painting.” Mounted on this wall, facing the entrance, were Koether’s ostensibly “black” paintings, including four small, nearly identical, monochrome triangles with smears of dried resin. On the other side of the glass partition hung six “red” paintings, as the artist refers to them (rather deceptively, given their white backgrounds and range of pink and citrus hues), bearing everything from female figures to grids to text. Not only did the wall act as a clear support, revealing the backs of the canvases, it also served as a barrier

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