View of “Ann Craven,” 2015.

View of “Ann Craven,” 2015.

Ann Craven

Southard Reid

View of “Ann Craven,” 2015.

Ann Craven’s third solo exhibition in London was also the first devoted entirely to her palette paintings. As the name of the show, “Untitled (Palettes: Naked, Tagged), 2013–14,” implied, the fifty canvas objects on view in the gallery, all 24 x 18 inches, had first been used as palettes to mix paint; Craven says she finds it “easier to mix color on a canvas than on paper palettes.” The pieces are dated from October 2013 to October 2014 and hung chronologically in a single line along each of the two floors of the gallery; each work corresponds to a single painting or group of paintings for which it served as a surface for mixing color. Hence, the 2014 palettes (along with some from 2013) that were exhibited in London, for example, are documents of a series of representational paintings exhibited at Hannah Hoffman Gallery in Los Angeles that year. Despite their origins as a kind

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