new-york

Jim Nutt

David Nolan Gallery

What struck me about this exhibition of Jim Nutt’s works (perhaps it had something to do with the tidy elegance of the installation) was not the monstrousness of his figures, to refer to their place in the so-called Chicago monster roster, or to their supposedly “hairy” (who) character, in the slang sense of that word—difficult, frightening, or risky—but rather the immaculateness of their execution. His figures may be monstrous and hairy, but Nutt is a perfectionist—a master draftsman.

Almost half the show, which included works made from 1967 to this year, were drawings, seven of them of female heads completed since 2008. (The show also featured three paintings of female heads made over the past six years.) However bizarrely distorted, usually by outlandish hairdos and enlarged noses—sometimes grotesquely beaklike (conveying the generally predatory character of Nutt’s women), and often with

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