A writer could easily spend their allotted word count detailing the complex, multipart technique undergirding Austin Martin White’s ten paintings—accompanied by watercolors and drawings—in his show “Last Dance.” The Philadelphia-based artist presently eschews anything as conservative as, say, oil on canvas. Instead, his process involves first digitally collaging together imagery from a host of sources. He then uses a vinyl lathe retrofitted with pens and markers to steadily wear his confected scenes into vinyl before pushing rubberized paint through this template from behind. This results in

Confronted with Cecily Brown’s enormous Straw Hat with Nudes, 2021, I couldn’t help but feel that in this lineup of four naked men the artist has finally found a subject adequate to her own big dick energy. Here, beyond the bloated confidence sometimes associated with that term, it stands for a generous madness, an ampleness of life force, the courage of youth, and masculinity’s creeping potential for violence. The motif of the four men appeared in four of the works that were shown as part of her recent exhibition “The Spell,” building a scaffold around the three other, apparently unrelated