Behold... the best contemporary human art. Appropriately titled 'Closing'....
It would be better if it had more fingers (and other mutations---as if evolving...). (Resisted the temptation to preface this with 'The Triumph of AI:' followed by 'just kidding'....)
In all seriousness I do like this painting, and the title (before reading the title, I liked the ambiguous symbolism of a door being opened---I imagine that's what most people would probably think of too---and in the context of the rest of her work it apparently 'reflect[s] the subject of a cis-female who desires an escape from her socially-prescribed role'; it also resonates with the ongoing pandemic...);
but the critical acclaim seems overblown:
'Beyond Zombie Figuration
The craze for figurative painting might be at an impasse. These three painters stand above the pack, making work that challenges the very idea of the form.
Lately, figurative painting has become a much stronger presence on the art scene—and in the art market—than it's been in living memory. About a decade ago, the hot thing was a certain kind of post-minimal but decorator-friendly abstraction[...] their fate was sealed when [...] coined the term "zombie formalism" to describe the formulaic nature of their production [...] No one could ever take that cohort seriously again, and collectors started looking elsewhere for new finds.
Figurative painting seemed like a fresher field. [...] it offered curators and collectors a way to display their sympathies right there on the wall[...]
But [...] Artists who couldn't paint their way out of a paper bag are being exhibited cheek by jowl with refined stylists whose images evince a profound engagement with contemporary reality. Often enough, the former seem more numerous; various undead forms of figure painting roam the galleries and museums today just as the revenant styles of abstraction did a decade ago. The indiscriminate uptake of the new figurative painting suggests it might have as brief a heyday as the formalism of a decade prior. That's all the more reason, though, to look for the artists whose figuration is built to last
[...] The hand on the door knob in Closing, 2022, for instance, belongs to a man, not a woman. The composition resembles a close-up from some Hitchcock thriller—the very fact that we can't know what's on the other side of the door is what creates the suspense. This is not the hand of power but of fear. And as for society? It's out of the frame, so who knows whether our destiny is prescribed by it, or by some unknown disaster all one's own? But Wood's alienation is so finely tuned that her disquieting feelings become strangely seductive.
'
Beyond Zombie Figuration | The Nation
(Could also use more fingers...)
This post has been edited by Azath Vitr (D'ivers: 20 December 2022 - 01:30 PM