Jim Shaw, “Large Study for ‘Origin of the Species’” (2016), pencil on paper (all images Zach Reich/Hyperallergic)
Jim Shaw appears to thrive on esoteric references and unlikely juxtapositions. Within the Nineteen Nineties, he started his ongoing Dream Drawings sequence and his Oism venture, reflecting his lengthy curiosity in world-building. With Drawings at Gagosian — a choice of meticulous black and white pencil drawings, plus two colour works, relationship from 2012 to 2025 — he continues to mix desires, surrealism, and anachronous iconography into a particular visible language. Spend a while with the works, although, and the sum turns into extra well timed than the elements.
For greater than 30 years, the LA-based artist has articulated the intertwined demons of US politics and mainstream tradition, beginning with the White suburban fantasies of the Nineteen Fifties, and the deep-seated weirdness on the coronary heart of each.
Jim Shaw, “Study for ‘Dance, Girl, Dance (Lucille Ball)’” (2020), pencil on paper
In “Study for ‘Dance, Girl, Dance (Lucille Ball)’” (2020), he presents viewers with an arresting portrait of an icon of American comedy. Whereas the drawing alludes to the just about mesmeric attraction of Hollywood glamour in our tradition, Shaw provides a dreamlike high quality by overlaying a sample of spots on the actress’s face. On the identical time, Lucy’s piercing gaze and unsmiling expression — an surprising portrayal of the I Love Lucy star — factors to a darker, bewitched aspect of canonical popular culture.
Amongst a handful of Hollywood-themed drawings, “Study for ‘The Bridge’” (2020) additionally facilities I Love Lucy, depicting the primary solid in a automotive (a nod to a cross-country street journey episode) alongside the phrases “World’s largest standard of living” and “There’s no place like the American way,” above renderings of varied loaves of bread.
Jim Shaw, “Examine for ‘The Bridge’” (2020), pencil on paper
Shaw’s imaginative and prescient of (right here, actually) white-bread Americana permeates his works. Its basis is the post-World Warfare II second when prosperity was represented by way of capitalism that was promoted by movie and tv, and White middle-class suburbia was posited as the best. Shaw’s critiques are unsettling, and more practical for it, as a result of he mines the strangeness behind the facade. In “Study for ‘The Adding Machine’” (2023), a bunch of smiling faces surrounding a typing girl seem like a imaginative and prescient from a Nineteen Fifties pamphlet in a cluster of gnarled bushes. And within the surprisingly disturbing “Crouching Man With Little Figures” (2014), tiny clones appear to develop out of a nude man doing an athletic stretch.
Set up view of “Crouching Man With Little Figures” (2014), pencil, prisma colour, and airbrush on paper, in Jim Shaw: Drawings at Gagosian
A few of Shaw’s iconography might sound random at first, however the extra you join the dots, the extra the insidious and, in the end, catastrophic work of the US authorities, legislation enforcement, and army come to the fore. A 2023 Cultured article refers back to the metropolis the place Shaw was born and raised as a “small town in Michigan,” however Midland can be the house of Dow Chemical, the corporate that pioneered plastic and foam merchandise within the US and ultimately grew to become the only real supplier of napalm and Agent Orange throughout the Vietnam Warfare. The person in “Crouching Man With Little Figures” might simply be a byproduct of a chemical plant.
Different artists might communicate to immediately’s sociopolitical points extra instantly, however Shaw captures the maelstrom with uncanny precision.
Jim Shaw: Drawings continues at Gagosian (821 Park Avenue, Higher East Aspect, Manhattan) by way of June 14. The exhibition was organized by the gallery.
