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Philip Akkerman, Self-Portrait: 2012, No. 155, tempera and oil paint on Masonite, 51 x 47 1/4".

Philip Akkerman/Maria Chevska

Mummery + Schnelle

Philip Akkerman, Self-Portrait: 2012, No. 155, tempera and oil paint on Masonite, 51 x 47 1/4".

Despite all the new modes of artmaking that have come into play since the 1960s, the everyday work of most painters still remains much the same as it has been for centuries. Or at least that seemed to be the premise for this pairing of shows by Philip Akkerman and Maria Chevska.

Over a thirty-year career, Akkerman has been painting his face and only that, but his real subject seems to be the daily grind of his praxis. Yet while some painters have translated the repetitive nature of their medium into a more reductive or conceptual practice, in which each repetition has just a few variables—think of On Kawara, or, in a different sense, Agnes Martin—Akkerman seeks out greater extremes of variation, suggesting a more personal and subjective approach. Each of his paintings seems to espouse a different style, from a precise realism through expressionism and even to the edge of

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