Humphries has extended these strategies into the present, reimagining her analog medium in digital terms, as a screen or interface.
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Balancing conceptual maneuvers and striking opticality in the ample space of her canvases, Humphries, like her peers Laura Owens and Charline von Heyl, betrays “a profound knowledge of how to make, and fake, marks on canvas,” writes Mark Godfrey-“how to navigate the histories and associations of those marks and control what impact they might have on viewers.” Early canvases, such as those in her 1995 Greene Naftali show (the gallery’s first solo presentation), probe the legacy of Abstract Expressionism, envisioning that movement’s chaotic drips not as destructive but constructive-as a sort of code which Humphries manipulates to form the basis of her own works. Throughout her career Humphries has thus adapted to-and subverted-painting’s formal and discursive conditions, often with reference to both art history and cutting-edge technological formats. “Painting can adapt to anything,” she notes. But for the contemporary painter Jacqueline Humphries, the medium became a “rogue practice” however risky, it has remained her foundation. 72 x 72 inches (182.9 x 182.9 cm) Next Biography Download PDF Installation view, Jacqueline Humphries: jHΩ1:), Wexner Center for the Arts, Columbus, 2021īy the mid-1980s painting had been declared “dead” several times over.
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