new-york

Cynthia Daignault, White Columns Bulletin Board: ‘There is no dark side of the moon really. Matter of Fact it’s all dark,’ 2011, oil on linen. Installation view.

Cynthia Daignault

White Columns

Cynthia Daignault, White Columns Bulletin Board: ‘There is no dark side of the moon really. Matter of Fact it’s all dark,’ 2011, oil on linen. Installation view.

Like a conceptual puzzle with too easy a solution, Cynthia Daignault’s project has a transparency that hews perilously close to the counterproductive. But while her art seems at first to refuse any possibility of mystery or “expression,” instead dealing explicitly with the mechanisms of visual display and institutional context, it is more than just an arid joke. Unusually for a display of oil-on-linen paintings, Daignault’s exhibition at White Columns was designed specifically for and in response to the existing features and proportions of the gallery’s main space and lobby. Yet while unequivocally site-specific, this deadpan suite of pictures also inserted itself into an ongoing commentary around the intersection of naturalistic painting with photographic and videographic imaging.

The show’s opening work prompted double takes from White Columns regulars accustomed to seeing the

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