"First Take:" Robert Storr on Jerald Ieans
Artforum
January 2002, p. 124
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Jerald Ieans isn't a novice, but he's pretty
much new to New York. I first saw his work almost a decade
ago in several private collections in his hometown of Saint
Louis and at the local art gallery that represented him. There,
in 1993, he appeared in a group show alongside Julian Lethbridge,
Glenn Ligon, and Christopher Wool, among others. His closest
affinities were with the elegant Johnsian painterliness of
Lethbridge-- and, by association, that of Richmond Burton
and Terry Winters-- rather than the grittiness of Ligon and
Wool. Back then, Ieans's paintings came in two basic varieties,
both insistently material, both exquisite in their fashion.
The first and larger body of work consisted of tinted waxen
canvases covered with subtly tonal ellipses in loose but even
distribution. The more surprising paintings-- the second type--
were plywood reliefs coated with translucent, seemingly still-gooey
layers of Elmer's glue over which were stenciled similar ellipses
in cake-frosting-rich oil pigment. The former were deliberate,
nuanced, and lovely, but I liked the latter best because of
the pronounced discrepancy between optical allure and slightly
repellent tactility.
Ieans's most recent work is all suavity, all optical seduction,
but it has paid off its debts to Johns, Lethbridge, et al.
and assumed a more expansive aspect. Seen last season in Thelma
Golden's "Freestyle" exhibition at the Studio Museum in Harlem,
these large-format abstractions are made up of looping biomorphs
superimposed one on another as if Silly Putty in drop-dead
shades of blue, green, salmon, beige, and brown had been shot
out of a pump-action splatter gun. In fact, Ieans draws fatty
paint across the picture plane in brush-grained sheets whose
outward spread is contained by hard-edged French curves. Visible
under each of these layers is the contour and grain of the
layer that preceded it, so that the whole composition shivers
not only where the edge of one monochrome blob skirts or overlaps
the edge of another, but in the silken abrasion that takes
place, so to speak, "between the sheets." Meanwhile colors
have their history, and if Ieans's forms recall the Surrealist-influenced
work of Elizabeth Murray or Carl Ostendarp, the moody hues
he currently favors are closer to the Jazz Age muralist Aaron
Douglas-- muted chromatic echoes emblematic of Ieans's sophistication.
How much hedonism can painting take these days? Dave Hickey's
answer seems to be "All it can get"-- and Ieans would have
been a prime candidate for a place in Hickey's Santa Fe pleasure
dome, "Beau Monde." However, given the almost ickiness of
his Glue-All reliefs and the increasing ambivalence of his
color, Ieans's pleasures have their disconcerting dimensions,
and his good art manners barely contain youthful energies
of more restless and eccentric kinds. Surely there are things
to look forward to, but right now these tensions make for
handsome pictures.
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