new-york

Judith Eisler, Tilda 2, 2017, oil on canvas, 60 × 48".

Judith Eisler

Casey Kaplan

Judith Eisler paints from film stills. This fact is often the first thing you hear about the artist, as if the conceit, which she has productively mined for more than two decades now, is sufficient to explain the formal qualities and conceptual underpinnings of her work. Snapping pictures while pausing movies on her DVD (or, in another age, VHS) player, Eisler freezes moments meant to be fleeting—capturing headlights in the fog, for example, or exhaled cigarette smoke, a backward glance—and renders them in oil. Blurry and slightly distorted, the resulting paintings are explications of the slippage between film, photography, and painting, and of the layers of relay and delay that are embedded in the translation from screen to canvas. Often featuring dewy close-ups of such actresses as Gloria Swanson, Romy Schneider, and Delphine Seyrig, Eisler’s savvy works are also tinged with

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