New York

Dana Schutz


“Missing Pictures” was Dana Schutz’s twelfth solo exhibition, and it’s time to stop appraising her as a prodigy. Neither instant nor sustained stardom has ruined her, and these twelve paintings evinced the same luxe, wack, et volupté she has been praised for before, with the same ambitious chewing up and spitting out of art-historical exemplars. Ten minutes in the gallery was time enough for a viewer to cycle through thoughts of Guston, Manet, Kandinsky, Picasso, Matisse, Bonnard, Rodin, and Johns—whose hatch marks Schutz has adapted as parquet flooring in a scene of periwigged Founding Fathers, whose bodies decompose into gray stripes that might signify shattered granite or the guts of electronics (Signing, 2009). Group Massage, 2009, quotes Manet’s Déjeuner sur l’herbe. In Schutz’s version, however, the legs and torso of Manet’s reclining flâneur belong to different sitters, one whose

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