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Churner and Churner - May 9 -11, 2014: NADA New York - Churner and Churner

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May 9 -11, 2014: NADA New York



Untitled(Astro Turf)_email

Jaime Davidovich, Untitled (Astroturf Painting) 1986

NADA New York, 2014

Pier 36- Basketball City
299 South Street at Montgomery

Preview: Friday, May 9: 10am – 2pm
Open to the Public: Friday, May 9: 2pm – 7pm
Saturday, May 10: 11am – 7pm
Sunday, May 11: 11am – 5pm

Davidovich’s paintings offer a subversive counterpoint, combining the suite dreams of a discount furniture showroom with the sanctified realm of painting. [They are] easel paintings pushed to the edge and left there tottering. Davidovich begins each piece by making a small painting and then covering it over with tape. The painting is obliterated but persistent, floating hauntingly beneath the surface or escaping to one side. There are constant visible reminders of handsome brushwork or anthropomorphic shapes; the muted surface, the added layer of tape, takes over and becomes a painting in its own right. As in the wall piece, the crimped tape undergoes an alluring transformation; be here the seductive image has been surrounded by ferocious synthetics. The frames Davidovich constructs for his paintings are distilled interiors, fabricated from the latest home-center products, hand-built from Astroturf and indoor-outdoor carpeting. Davidovich uses these materials in a most deliberate manner, neither brutal nor frenzied. The presentation is assured, even dignified, but the materials’ inherent anxiety remains: They are no what we expected, and they are behaving like paintings. The entire object (picture and frame) is often simply read as a condensed book: a rec room with a pool table; a kitchen with a no-mop floor; a Hollywood library with fake leatherbound volumes purchased by the yard. But the reading is more complicated on a fundamental level, upsetting to the equilibrium. The surfaces are bewildering, offering up such indecipherable visual clues as the faux marble-in-foam allusion of under-carpet padding. Davidovich finesses the latest ersatz materials into genuine frames; and the frames are alarming, as loud and perverse as relevant wisecracks. It is Davidovich’s comic twisting of paintings standardized vocabulary that affirms that we are looking at paintings; paintings that are at once personable and satirical. And like Gulliver, these paintings are willing to acknowledge their kinship with the Yahoos.
— Susan Morgan, 1988