For the final exhibition of 2017, Corbett vs. Dempsey is pleased to present a new body of work by Rebecca Shore. This is Shore’s fourth solo show at CvsD.
Over the last three decades, Shore has proven herself to be an imagist in the pure sense of the word – that is, she investigates images. And while those images are often abstract in that they don’t represent objects in the world, they are also highly specific and indeed refer to possible images of the world, phenomena that would be impossible to imagine any other way than by imaging them. The Chicago-based artist is an intrepid visual explorer, utilizing morphological variation as a vessel and knowledge of materials and techniques as her compass. Thoroughly transforming an idea, she might move it through many incarnations, visiting a host of connotations and implications before having exhausted it. Her work has a characteristically high degree of formal complexity and snap-tight finish, the surfaces always immaculate, the images often teasing at the edge of legibility – face, figure, machine, instrument – but retaining an inherent sense of mystery, an unfathomableness particular to her way of seeing. In the newest group of canvases and works on paper, she combines shallow intimations of depth, often involving dovetailing cords or laces, and eyelets and chains, with shadowy forms in the background, in composite a kind of inscrutable system, a brocade bodice or impossibly complex cat’s cradle. This exhibition will include a group of medium sized canvases as well as several large gouaches. Accompanying the show is a 52-page catalog with full-color reproductions of the works and an essay by curator and art historian Kate Nesin.
In the East Wing, CvsD is pleased to present Night Paving, its first exhibition of paintings by Michael Cline. Born in Florida, based in New York, Cline is a representational painter whose canvases each contain intense little worlds, be they narrative scenes or dense still lifes. Channeling New Objectivity painters like Anton Räderscheit and Georg Scholz and American tromp l’oil painters like John Frederick Peto and William Michael Harnett, he has arrived at a highly personal vision of contemporary figuration, somehow reworking those points of reference into something fully relevant and resonant in today’s world.