Fabrik - Issue 32

Page 83


in the confetti of dispersed mark-making and seemingly infinite variegations of palette and qualities of impasto, still recall the dynamism of his Wild Style roots. Meanwhile, JonOne has become increasingly expert at constructing receding pictorial space, introducing quasi-architectural framing devices within the imagery, landscape-style boundaries against oceanic sweeps of purely abstract detail and a galactic array of individual points of contact between brush/knife/nozzle and canvas. Both a new and old art-historical style, it’s just as wild as ever. ACE GALLERY, LOS ANGELES Laurie Lipton: Techno Rococo (February-June, 2016) Words Michael McCall

Laurie Lipton’s solo exhibition, Techno Rococo, is an ironic take on our society’s complicated progress from the industrial to the tech revolutions. While her complex vision — a dystopian future featuring details of retro beauty juxtaposed with contemporary references — comes across like a horror movie, the exhibition is mesmerizing. Lipton’s large photorealist, graphite pencil and charcoal drawings all have a surreal twist, seducing the viewer into approaching the way a Diane Arbus or a Joel-Peter Witkin photograph compels us to dance. But once up close and present, the viewer is assaulted with a barrage of imagery. It hits deep. This dance of seduction can Laurie Lipton | Techno Rococo, 2016. Ace Gallery, Los Angeles. get uncomfortable; a tap dance of cacophonous beats that may have you stepping on your own feet. Born in 1953, Lipton grew up during a time when many women stayed home to take care of the household. In her piece Cooked, a well-coiffed housewife is in her kitchen seemingly making dinner. Instead of the juicy turkey one might expect, 83