www.|ist.co.uk/visualart Visual
AHN'SEEAbAMSIEELEBRATION or GENIUS City Art Centre, Edinburgh. Sat 9 Feb-Sat 19 Apr
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wru‘xliw, mum Willi?! mu. Mm? KENDALL KOPPE AND DOUGLAS MORLAND: THE GREAT RELEASE
lntermedia, CCA, Glasgow. until Sat 2 Feb 0000
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:;pw:t...alism Tlllll‘t] I'm; EMi) l" cm: H I l‘dl'll "t; a. Piciiiet'ms st. 5- 'L x: ml»; .1: "’“MNL‘ com ositional elements within the frames. In the main ‘ ' SPENCER SWEENEY allep s ace two similarl -sized canvases can be read The Modern Institute, Glasgow. until Sat 23 Feb 0000 g p ' y as a diptych of sorts: both share the banana/tongue U-
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mini is COXGR‘U with .a (Jl‘lt-t‘lpi". cm: There's less shtick and more confidence in this shape, and are smeared in acid colours of pink, yellow, an memtnlx light leaks o..t 71'0", “we! exhibition of paintings by New York-based artist and green. The canvases can be read as warped the t‘LV‘SiHlCIiO". iAIGXJY‘Jt—W Kennedy Spencer Sweeney. The freewheeling, almost accidental portraits, with baby pink ovoid and black abysses that approach to image-making that the artist employed in can be translated into heads, mouths and eyes. Text his previous exhibition in the space two years ago has creeps into one image while mini rainbows in various now solidified into a more measured and composed states of angular manipulation hold the ‘features’ of method. That is not to say that the images are not as one of the faces together like psychedelic veins of light. compositionally dynamic, but that the confidence the The greatest success is the large painting that faces artist gleaned from his involvement in the Whitney this pair (pictured), where 80 years of American Biennale now seems to have found its way into the painting are bought together with a cheeky outpouring canvases. of gestures that is reminiscent of Frank Stella's Many of the works are still crammed with Spencer’s approach in the 805. Three squares of red, blue and usual phallic images (bananas, the Eiffel Tower, long yellow form the foundational core of the work, a nod to jabbing tongues), but these are used as marks on the European Modernism, which is erased with a purple surface rather than empty representational glyphs, and scribble and a solid black cloud of paint - crude paint itself has become more important in his work. signifiers of American Abstract Expressionism. This It’s difficult to refer to individual pieces (all the painting, like his best work, is humorous and tough: a paintings are ‘Untitled’) so one can only describe the giggling brute. (Alexander Kennedy)
" THE LIST 95