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Post Times is pleased to present ’S, an exhibition of new paintings and works on paper by Margaret Curtis. This marks Curtis’s first solo presentation in New York since her 2003 exhibition at P·P·O·W.
Curtis’s paintings depict sprawling landscapes populated by larger-than-life figures assembled from scraps of neon signs and plywood billboards. Familiar American tropes—a sheriff star, cowboy hats and boots, guns, the striped legs of Uncle Sam, oil pipes—appear as towering constructions dominating the landscape, pieced together and held aloft by rickety wood scaffolding. The images operate as facades, both literally and figuratively, revealing the fragile architecture upon which ideas of gender politics and national identity are constructed.
Across the paintings, the natural landscape often gives way to the checkerboard pattern of a Photoshop transparency grid, a digital blank slate that offers a subtle indictment of American expansion mythologies. If the nineteenth-century painters of…
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Press Release
Post Times is pleased to present ’S, an exhibition of new paintings and works on paper by Margaret Curtis. This marks Curtis’s first solo presentation in New York since her 2003 exhibition at P·P·O·W.
Curtis’s paintings depict sprawling landscapes populated by larger-than-life figures assembled from scraps of neon signs and plywood billboards. Familiar American tropes—a sheriff star, cowboy hats and boots, guns, the striped legs of Uncle Sam, oil pipes—appear as towering constructions dominating the landscape, pieced together and held aloft by rickety wood scaffolding. The images operate as facades, both literally and figuratively, revealing the fragile architecture upon which ideas of gender politics and national identity are constructed.
Across the paintings, the natural landscape often gives way to the checkerboard pattern of a Photoshop transparency grid, a digital blank slate that offers a subtle indictment of American expansion mythologies. If the nineteenth-century painters of…
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