Los Angeles

View of “Gary Hume,” 2019. From left: The Beach, 2018; The Wonky Wheel (Blue), 2018; The Wonky Wheel (Lime Green), 2018; Water, 2018.

View of “Gary Hume,” 2019. From left: The Beach, 2018; The Wonky Wheel (Blue), 2018; The Wonky Wheel (Lime Green), 2018; Water, 2018.

Gary Hume

Matthew Marks Gallery | 1062 N Orange Grove

Spread across the Matthew Marks Gallery’s two locations in this city, Gary Hume’s first solo exhibition in Los Angeles in more than twenty-five years revealed the tenacity of certain long-standing concerns and the emergence of others. Among the eight recent paintings (enamel on aluminum or paper) and three painted-steel sculptures on view, a giant trompe l’oeil of vertical boards crisscrossed with super-glossy white x’s suggested the flattening of a barn’s side and the sliding plane of its door. Titled U.S.A., 2018, it recalled Hume’s other portals, the big rectangular slabs of the “Door” paintings, 1989–91, with which he is still associated after exhibiting them in the generation-defining 1988 “Freeze” exhibition curated by Damien Hirst in London. Like those earlier monoliths, U.S.A. renders the painting coincident with its source—here the generically American outbuildings of upstate New

Sign-in to keep reading

Artforum print subscribers have full access to this article. If you are a subscriber, sign in below.

Not registered for artforum.com? Register here.

SUBSCRIBE NOW for only $50 a year—65% off the newsstand price—and receive the print magazine plus full online access to this issue and our archive.*

Order the PRINT EDITION of the April 2019 issue for $17 or the ONLINE EDITION for $5.99.

* This rate applies to U.S. domestic subscriptions.