Los Angeles

Willie Stewart, TOTAL youth, 2019, ink and color pencil on cotton board, pigmented ink-jet print and acrylic on polystyrene board, and acrylic on canvas over panel, 60 1⁄4 × 40 × 8".

Willie Stewart, TOTAL youth, 2019, ink and color pencil on cotton board, pigmented ink-jet print and acrylic on polystyrene board, and acrylic on canvas over panel, 60 1⁄4 × 40 × 8".

Willie Stewart

Morán Morán

Willie Stewart was two years old when the Cure’s “In Between Days” was released. The song is an earworm that can get you to dance to dour lyrics: “Yesterday I got so old, I felt like I could die.” Stewart took this former nightclub staple as the title of his recent solo exhibition, which, like the band’s music, was austere, showy, and well-crafted, more thoughtful than its slick finishes suggested.

Stewart, who is also a musician, used the arena of arty punk and synth bands from the 1980s to explore layered notions of time, in an era when any decade’s records are instantly streamable. A sense of nostalgia surrounded bygone bands (Joy Division and New Order figured prominently) and media formats—most of the works featured oversize VHS cassettes in sleeves that had been constructed from combinations of photographic prints, painted elements, and drawings, all mounted on large panels. These

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