New York

Anya Kielar, Talk Talk, 2019, paint, linen, foam, aqua-resin, wood, Plexiglas, 38 1⁄2 × 30 1⁄2 × 7 1⁄2." From “L’IM_MAGE_N.”

Anya Kielar, Talk Talk, 2019, paint, linen, foam, aqua-resin, wood, Plexiglas, 38 1⁄2 × 30 1⁄2 × 7 1⁄2." From “L’IM_MAGE_N.”

“L’IM_MAGE_N”

ASHES/ASHES

“L’IM_MAGE_N,” curated by artist Timothy Hull, was a strong grouping of six coolly sovereign works. The show’s title—“a play on the word image” (limn, mage, imagine, etc.)—parses the mutable alchemy of artmaking and its many registers, touching on, to paraphrase the curator’s words, artistic wizardry and “the sacredness of the object.” And why not? Life has been fraught with political chaos and crucial eclipses the past few years—let us look beyond the dark firmament and embrace mutation.

Mathew Cerletty’s painting, Neocon, 2005, almost read as an anodyne portrait of a striking man. But up close the subject’s face, maquillaged in stagy, ghoulish grays, asserts a cadaveric gloom. This image is an oil-and-modeling-paste-makeup tutorial don’t, with a pallid forehead crisscrossed by the woes of the world or some occult rune of vexation. Neocon’s pasty changeling shared a wall with the effervescent

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