A fine example of who-cares-what-they-write-about-it. Her earlier stuff, if you looked close, was a mash of distorted body parts having sex or otherwise just being sleazy; apparently there was all kinds of critical hand-wringing as to what her stance was relative to domestic violence or some such self-referential academic-critical-speak, and maybe that's what was really on her mind when she made it, but it just didn't come through in the work, so who cares. What did was a fun counterpoint between breezy brushwork and pervy details, the whole thing pressed together in a seething mass that fought itself, and your eye, lots of life. Her later stuff lost the body parts and became more like DeKooning's gorgeous late minimal work, spare and firm; of late she seems to be getting more playful again, as in the works below.

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