A Splash Quite Unnoticed

There’s something immensely disquieting about the little orange traffic cones that appear in two of the works on display at Gregory Lind’s current show All it is. Jake Longstreth’s landscapes are stripped bare, sheared of the visual noise of excessive signage and advertisements. There are also no people, or at least, none that we can see, which makes those traffic cones seem to scream “caution.”
The tans and sienna hues of the suburban chain store architecture of Rome, 2008, the wall in Pharmacy, 2008 and the tennis court of Sacramento, 2008 feel like some kind of restraint on the part of the builders, a hesitancy to add too much color for fear of reprisal. Ritalin for an anxious populace. When vibrancy does appear, in the string of pennants in Dealer, 2008 it’s as if it announces completely by accident the dark side of life lurking behind the scenes, the one not suppressed by the muted tones.


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