Curated by erstwhile Chicago gallerist Wendy Cooper, this group show focuses on work that deliberately straddles abstraction and figuration. With its signature blurring of an otherwise straightforward female nude, a piece by Gerhart Richter feels like the point of origin for this approach. A cursory glance at a print by Ellen Gallagher appears to explore geometric abstraction, while close inspection reveals a pale overall patterning of full, line-drawn lips, her definitive and racially charged motif. Three water colors by painter Barnaby Furnas feature figures shattered by war wounds or excess smoking; the vamping blonde in Girlfriend 1 and Girlfriend 2 has her vanity dismantled by her bad habit, while the stoic soldier in Bits and Pieces is shattered into blood-colored shards. A series of oil paintings by Katherine Bradford depicts swimmers in various states of wavering submergence, their bobbing heads barely discernible beneath thick passes of paint. Whether this show is yet another response to Clement Greenberg's now half-century-old dictates about the supremacy of abstraction (as the title's play on Ab/Ex suggests), it seems certainly to attest to the argument's persistence. Figuration is alive and well, and apparently living in blithe harmony with its non-objective antagonists, producing a new brand of perfectly acceptable if not altogether traditional contemporary art. Tuesday through Saturday through January 15, 2011, at William Shearburn Gallery, 4735 McPherson Avenue; 314-367-8020 or www.shearburngallery.com.
Tuesdays-Saturdays. Starts: Nov. 19. Continues through Jan. 15, 2010