Ameringer Mcenery Yohe

Franklin Evans’ show here is called paintingassupermodel which could mean painting gets photographed, looked at, admired, airburshed, photoshopped, has its pores removed and so on. But painting here is still a mess: thick, complex, riddled with rough textures, covered with masking tape and confused with print. When it’s photographed it’s distorted, stretched into wallpaper, blown up too big so the pixels show, or the editing tools otherwise show in ways that aren’t pretty. But maybe I’ll never understand what Franklin Evans was thinking when he chose this title for this epic installation and that’s ok, the title doesn’t really matter anyway. What I liked about it was how it shook up perceptions of two-​dimensional space, creating a variety of ways of looking at and relating to images on a wall, by mixing prints and collage and painting, inverting one through the other and mashing them all up. It’s a fun journey through the artist’s process of looking at paintings and making them, with some references to data and web pages and excel spreadsheets in the form of wallpaper that reminds you of computers and offices and networks and markets, the numerical atmosphere that art is made in and exhibitions are organized in, but not in a way that’s boringly archival or demands calculating examination on the viewer’s part. As I approached the desk to check out the press release a man behind it, barrel-​chested in a pink oxford shirt, said «hey how’s it going» in a gruff but amicable way that made me feel welcomed.