Wednesday, September 15, 2021

The Lois Dodd Report: love poem to Brece Honeycutt

Lois Dodd, a remarkable survey at Alexandre's new space at the old James Cohan, 291 Grand St. Oh this painting! In the middle of the first big room. Slashes of blue-grey surrounded by white canvas--the whole composition an at-speed study until you get to the clothesline up front.

Two works side by side, showing the motif's evolution throughout the years. I believe this is from the '60s.

Also from the '60s. According to the excellent catalog history by Faye Hirsch in what is to date Dodd's definitive monograph, it is revealed that she studied textile design at Cooper Union in the 1950s! and owes the flattening and close-to orientation of her compositions to urban life. 

A beauty from 2021, a veritable haiku to winter, where she's currently residing in Maine.

The paintings are on wood panels. They are blocked in and the foregrounds often elucidated further.

Two autumn landscapes. Seeing these in life, the shifts in light and season come clear.

From the first, quotidian life and geometry play their roles in Dodd's work. She was friends with Alex Katz and through him, knew Fairfield Porter's work well. She was also a co-founder of Tanager Gallery, with then-husband Bill King.

This is such a great painting! In the reals, the slivers of green daylight glimpsed in the washy interior jump toward you, in just the way they would were you to walk in that barn right now. 

Flower architecture.

Dodd insists nature is her inspiration, and she does not invent, but paints directly from life, in situ. And here is how such observation surprises: the shocking clapboard shadows amidst sunny yellow washed shapes.

Fog on a window. This work reminds me of Catherine Murphy, another realist whose interest in daily life involves windows, exteriors and close observation. 

Front room at Alexandre. Hasten to this beautiful exhibition of an outlier artist who remains more relevant than ever. 


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