UNTITLED (LINES BODIES) | Juliana Huxtable

  Untitled (HM1) , 2016, oil, acrylic, inkjet print on canvas and mylar, 30 in. x 40 in., courtesy the artist and 186f Kepler

Untitled (HM1), 2016, oil, acrylic, inkjet print on canvas and mylar, 30 in. x 40 in., courtesy the artist and 186f Kepler

UNTITLED (LINES BODIES)

I HAD NOTHING TO SAY
WHILE TRYING TO GRAPPLE WITH SOMETHING THAT SEEMED SO OBVIOUS, OBTUSE, REDUNDANT.
THE IMAGES, TRINKETS OF OLD NEW YORK
NAUSEATING TRADEMARKS OF A LATE HUMANISM
WERE UBIQUITOUS—HYDROGEN BONDS OF “VISUAL CULTURE”
… A DIZZYING YAWN

THEY CIRCULATED IN MEMORY PLANNED TO PUSH OUT CLIPART PAINTSTROKES OF THE RC COLA CAN, BUT FORGETTING THE NOSTALGIA OF A FAMILY BBQ.

THE IMAGES SHARE THE SAME BOLDLY DETERMINED FIGURATION
CIRCULATED POP, QUOTIDIAN, COLLEGE POSTER

THEY WERE EVERYWHERE I DIDN’T WANT TO BE
SHOPPING WITH MY MOTHER ON CLEARANCE RACKS IN SECOND-RATE SHOPPING MALLS, CLUTTERING 42ND ST MANHATTAN ONTRIPS FROM NEW JERSEY WITH MY FATHER TO SEE RENT AFTER 'EXPLORING THE CITY'

IN BANNER ADS FOR WALL DECALS AND COFFEE MUGS CLUTTERING THE ONLINE MAGAZINES I WANTED TO READ IN A PEACE, AWAY FROM FACEBOOK’S POOR ATTEMPT AT UNDERSTANDING MY CONSUMER DESIRES.

LET THEM CIRCULATE IN REINCARNATION, DANCING ON SCREEN SAVERS.

 

TRAINS AND SIDEWALKS IN THE CITY PROVIDE A CERTAIN FREEDOM TO
UNMEDIATED MOVEMENT
TRAVEL ACROSS AND, IN AN ACT OF FREEDOM (NO CARS) AND RITUAL, IN THE NAME OF PHYSICAL UNBOUNDEDNESS, EVEN IF IN SPITE OF THE POLICING OF THE SAME,

RECOGNIZE THE LINES IN SUBWAY STATIONS
HOLDING ON TO THEIR BRICK EMBANKMENTS
WALKING BY
FACE UP IN AIRPLANE MODE

INITIALLY, TESTAMENTS TO AN ERA WHERE THE CITY WAS ANIMATED BY THE CITIZEN-CREATED PUBLIC WORK ON PUBLIC SURFACES (UNCOMISSIONED).
HOW BEAUTIFUL, A VIBRANT SPLASH OF COLORFUL OPTIMISM IN A CYNICAL AND CYNICALLY DESIGNED CITY

 

LINES AND BODIES, CONGENIALITY IMBUED IN THEIR COLORFUL MOVEMENT AND ALSO SOMETHING OTHER … SINISTER, SARDONIC, AND DYSTOPIC IN THEIR PREDILECTIONS

MIRAGES OF GREETING CARD SENTIMENTALITY GIVE WAY
AND WITH IT THE BASTARDIZED OFFSPRING OF ART-AS-COMMERCE
LEAVING BEHIND A VICTIM

REAL EYES IN A REAL CITY-IN-TRANSIT WHERE THE NOSTALGIC LAMENTS OF THE LIVING LEGENDS OF DOWN- AND UP- TOWN BOHEMIAS NEED LITTLE CITATION IN THEIR JADEDNESS

THE LOSS OF ZEITGEIST AS SUCH / NOTED, REFERENCED Id. INFINITUM, WITH PAPERWORK
TO PROVE AND EXPANSIVE WINDOWS FOR SCALE, IN NEUTRAL TONED, CHEAP AND DERIVATE MODERNIST CONDOS

OVER-DISTRUBUTED OBJECTS OF CONSUMPTION SATURATING THE LIQUIDATED
MARKETS OF FACTORY PRODUCED HOUSEHOLD ORNAMENTS
SIMULTANEOUSLY SUPPORTING THE FOUNDATION'S ENTERPRISE AND TEACHING ME FUNDAMENTALS OF A VISUAL LANGUAGE CASTRATED OF ITS GRAMMATICAL STRUCTURE IN THIS FORM

FIGURES DELIVERED AS SYMBOLS OF A NEU HUMANISM

REPRODUCTIONS FLATTENED THE TEXTURES LEFT IN THE TRAILS OF BRUSH STROKES AND MERGED THE MOST BENEVOLENT SYMBOLS IN THIS LEXICON TO THE MOST IMMEDIATE “ON SALE” MONSTERS OF THE NEOLIBERAL ORDER.

 

AND ELSEWHERE
OUTLINED FIGURES SNICKER IN HOSPITAL WALKWAYS
DANCE ABOVE PUBLIC POOLS
FUCK FREELY IN MENS BATHROOMS IN WEST VILLAGE BUILDINGS WHERE THE PLUMBING HAS SINCE BEEN RE-ROUTED
REMIND EVERY EYE PASSING BY A CERTAIN ROADSIDE IN HARLEM OF THE VILLAINS (AND SAINTS) THAT POSSES THE CITY

CONTINUITY IN THE LINE(S) REMAINS UNBROKEN
ALL THE MORE APPARENT IN THE LIMINAL ZONE OF A CITY WHERE THE MTA CONNECTS THE
BORDER OF ONE MURAL AT THE STATION OF DEPARTURE TO THE
FOLD OF A LEG ON MOUNTED FIGURE IN A PARK OUTSIDE THE STATION OF ARRIVAL. 

IT HAS MADE ITS WAY ACROSS GENERATIONS OF BULBS-TURNED-PIXELATED CARTOGRAPHY IN ANIMATED SIGNAGE AND IT PROTESTS THE
RACIST STATE SPONSORED BRUTALITY OF THE NYPD
TRACING AND DISTORTING THE FIGURE OF MICHAEL STEWART
FILLING THE FACELESS FIGURES WITH BROWN SKIN AND ARTICULATED FEATURES

RADIANT BABIES GROW INTO
ECSTATIC FIGURES MANIPULATING AND PUNCTURING ONE ANOTHER
A COITUS PATTERN ARTICULATED BY MOIST HIPS
UNDULATING LIMBO SPREAD LED JUNGLES WHERE CYLINDRICAL FRUIT FALLS
INTO HANDS MOUTHS IN VEINS
EMERGES ON THE SURFACE OF SKIN
TAUGHT, IN DENIAL

LINE, FIGURES IT GRANTS CERTAIN VITALITIES TO
A REVELATORY POWER

THE NATURE OF THEIR WIDE AND RAPID PROLIFERATION
COULD HAVE FORESEEN LEGACIES AS POOR IMAGES PROMPTING THE CONSUMER OF
GIFT WRAP ON SALE AT MACYS TO GOOGLE WHO IN FACT WAS RESPONSIBLE
SYMBOLS, DEPLETED KINECTIC AUDACITY
A SUGGESTION/ MARKER
INVITATION TO LINES, BODIES TRANSFORMATIONS
OF EMBOD-IED ENERGIES
IN ON A JOKE / COGNIZANT OF A MISSION
HOMAGE TO THE
CURRENT RECURRENT TENDER AGE

 

  Untitled (HM2) , 2016, oil, acrylic, inkjet print on canvas and mylar, 30 in. x 40 in., courtesy the artist and 186f Kepler

Untitled (HM2), 2016, oil, acrylic, inkjet print on canvas and mylar, 30 in. x 40 in., courtesy the artist and 186f Kepler

Women & Performance