los-angeles

Charles Mayton, for the painter of unknown languages, 2012, oil and gouache on canvas, 72 x 60". From “Needles in the Camel’s Eye.”

“Needles in the Camel’s Eye”

Thomas Duncan Gallery

Charles Mayton, for the painter of unknown languages, 2012, oil and gouache on canvas, 72 x 60". From “Needles in the Camel’s Eye.”

As is well known, artists such as Cindy Sherman and Louise Lawler emerged in the late 1970s with work that effected a critique of representation through the détournement of photographic and filmic tropes. This unusually tight summer show proposed an innovation of that older critical strategy, wherein “pictures” have been superseded by multiplatform and thoroughly transmutable “images.” Most of the fourteen artists featured here were born during the years when the Pictures generation was first being identified as such; they make work in which images are submitted to a state of continuous transmission between digital and analog formats, bringing to light the visual and material conditions of twenty-first-century representation and viewing. However, rather than accommodating to the screen completely, their works subject photographic imagery to painterly treatment, in ways that

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