David Salle’s paintings juxtapose images from a variety of sources to startling and often provocative effect. In Sextant in Dogtown (1987) Salle arranges disparate elements within a grid and in a manner evoking film montage, while combing a pastiche of painterly styles and subjects. Here, the act of seeing — or not seeing– becomes a subject in itself. A half-dressed woman, lifted from the artist’s own photography, is shown from different vantage points, her face always obscured. Above her, a cartographer uses an old-fashioned measuring device known as a “sextant.” Confronted with these disjunctive images and with no evident narrative, we are ultimately left to forge connections on our own.
While Salle’s work is frequently associated with the resurgence of figurative paintings in the 1980s, it is also linked closely to that of the Pictures Generation — artists who employed appropriation to explore the relationship between image and consumption.
Photographed as Part of Fast Forward: Painting From The 1980s at the Whitney Museum of Americana Art, on Exhibit Through May 14th, 2017.
Rob and Monica are a fun couple I know from the FaceBook. They enjoy first wave British Punk Rock, shopping for vintage housewares and collecting mid-Century design. For Rob’s birthday this past week, Monica presented her true love with the dessert pictured above, which Rob described as a “Jello Cake with Clowns.”
“It really was not cake,” Monica clarified, “it was just Jello with Redi Whip on top! I used a vintage red Pyrex bowl and vintage clowns (Rob likes clowns) and a vintage birthday cake sign.” Who would not want a girlfriend who would make them such a fun and personalized dessert? Monica further explained that she made the Jello because Rob already had cake at work, and then they had more cake the next day at her sisters. And, as they say, there is always room for Jello.