Paul Winstanley


For the past three decades, British artist Paul Winstanley has been painting the future past—that utopian architectural imaginary of the postwar years concretized in a range of quasi-public/quasi-private milieus, from the airport to the hospital—making only the most incremental variations in his address of the subject matter from one show to the next. With this exhibition of eight oil paintings on linen, Winstanley remains consistent in his examination of modernity as a cultural phenomenon, but one that exceeds the narrower aesthetic parameters of modernism per se. The most obvious model for this work, in both substance and form, is, of course, the practice of Gerhard Richter. But whereas Richter delivers an exhaustive overview of the possibilities for painting today, a nearly complete remapping of the medium’s terrain for the postmodern era, Winstanley restricts himself to a single path,

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