LA WEEKLY: Caitlin Cherry Strikes a Masterful Pose at Luis De Jesus
By Shana Nys Dambrot
In a world where every image is distorted, manipulated, aspirational and dysmorphic, what is to become of painting's history of generating interpretive, fantastical pictures? Beauty is both longed-for and suspect, female power is both lauded and feared. What is a self-assured paint warrior with an operatic talent and a love of disruptive art history supposed to do?
Within the hierarchy of desires, what place is there for images further viewed through the mediation of technology — especially when that tech isn't working right? And what does "right" even mean when we're having a subjective and subversive discussion on patriarchal, racial and colonialist paradigms of beauty in the first place?
In the paintings of Caitlin Cherry, black female bodies and sexually confident women in general are portrayed as self-possessed in the face of oppression and outmoded, moralizing aesthetics. Her topsy-turvy palette riots topple expectations and reveal an emboldened generation of women ready to rule this jacked-up kingdom. She’s also a formal wizard and a beast with the brushes.
Luis De Jesus Los Angeles, 2685 S. La Cienega Blvd., Culver City; opening reception: Sat., Jan. 12, 6-8 p.m.; on view Tue.-Sat., 11 a.m.-6 p.m., thru Feb. 9; free. (310) 838-6000, luisdejesus.com.
