decomP magazinE likes Color Plates!
And we like Spencer Dew's thoughtful review, especially his analysis of how Adam Golaski writes about female characters:
Golaski is concerned, as the paintings he studies are concerned, with color, with wonder, with the awe-struck perception and imaginary flights of childhood. And—to return to those steaming moist panties flung against the glass—with the erotics of looking, the sheer sensuality, whether of the human body glimpsed in an intimate moment or the objects of our world seen in their ineluctable physicality. “All the objects in the studio shine: glass, porcelain, metal, oysters, glass, the oily surface of a lemon, pale blue china, lead, and velvet,” Golaski writes, introducing one so-called “still life,” which, while technically static on the canvas still “speaks movement.” What’s true for a tray of fresh-baked pizza nuggets or paper ballerinas arranged inside a shadowbox is true, too, for a row of whores hefting their skirts for medical inspection. Not that women, in Golaski’s gaze, become objects, but, in his terms, they become a “source” (not a “muse”), thus, Toulouse-Latrec’s “Woman Fixing Her Stocking” segues into a revelry on a girl changing out of her high school uniform; an image is caressingly described, the contemplated. An epiphany is gestured toward in words. As another narrative voice declares, “My beloved husband is a voyeur. A marriage vow: I must become a voyeur also.” “This isn’t ogling,” what Golaski does, but an ecstasy of the visual.
Read the whole thing here. Thanks, Spencer!
Golaski is concerned, as the paintings he studies are concerned, with color, with wonder, with the awe-struck perception and imaginary flights of childhood. And—to return to those steaming moist panties flung against the glass—with the erotics of looking, the sheer sensuality, whether of the human body glimpsed in an intimate moment or the objects of our world seen in their ineluctable physicality. “All the objects in the studio shine: glass, porcelain, metal, oysters, glass, the oily surface of a lemon, pale blue china, lead, and velvet,” Golaski writes, introducing one so-called “still life,” which, while technically static on the canvas still “speaks movement.” What’s true for a tray of fresh-baked pizza nuggets or paper ballerinas arranged inside a shadowbox is true, too, for a row of whores hefting their skirts for medical inspection. Not that women, in Golaski’s gaze, become objects, but, in his terms, they become a “source” (not a “muse”), thus, Toulouse-Latrec’s “Woman Fixing Her Stocking” segues into a revelry on a girl changing out of her high school uniform; an image is caressingly described, the contemplated. An epiphany is gestured toward in words. As another narrative voice declares, “My beloved husband is a voyeur. A marriage vow: I must become a voyeur also.” “This isn’t ogling,” what Golaski does, but an ecstasy of the visual.
Read the whole thing here. Thanks, Spencer!
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posted by Kathleen Rooney at 5:38 AM
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