Stuart Davis: In Full Swing

In Full Swing
Stuart Davis
Whitney Museum of American Art, New York

American modernist painter, Stuart Davis (b. 1982), believed that art should offer insight into everyday experiences. Throughout his career, he experimented with ordinary objects, an internal conflict of abstraction vs representation evident in his oeuvre. Inspired by Fauvism and Cubism, Davis’ aesthetic developed as a response to the realism that was prevalent early in his time. Worried that abstract art avoided social responsibility, he developed a language that tied commonplace matters to a new, artistic integrity.

In Full Swing is not a retrospective but a concentrated showing of the high point in Davis’ career, from his sojourn in Paris at the end of the 20’s (then culture-capitol of the world), the political and social pictures of the 30’s, to his condensed, tightly-painted mazes of the 40’s (produced in the grip of alcoholism), to the clear-branded and celebrated works of the 40’s and 50’s, for which he is well known.

Highlights include Super Table (1925), a warped play on tabletop still-life, the image was considered radical for an American artist; Egg Beater No. 4 (1928), a painting of a mass-produced eggbeater so abstracted that it challenges the viewer’s vantage and understanding of perspective, rather than identifying a commonplace object in modern time; Little Giant Still Life (1950), the high-key colored play on the word “Champion,” which Davis had noticed on a matchbook advertisement and painted—of primary focus is his use of syntax, or the arrangement of colors and shapes into a cohesive order. Finally, there is Fin (1962-64), left unfinished on his easel at the time of his death. The French word for “end,” he’d noticed it at the conclusion of a film he’d watched that final evening with his wife. He’d added the word fin to the painting just before he’d died. A grid of masking tape, which Davis used to develop his compositions, remains on the incomplete canvas.

By merging the immediacy of advertising, and the emblems of popular culture, with the innovative qualities of European painting, Davis offered a distinctly American perspective to universal modernism. His simple color pallets, confounding perspectives and compositional experimentation mark him as one of the greatest American modernist painters of his time.

On display through September 25.

Super Table, 1925
Lucky Strike, 1921
Salt Shaker, 1931
Electric Bulb, 1924
Place Pasdeloup, 1928
Rue Lipp, 1928
Arch Hotel, 1929
House and Street, 1931
Summer Landscape, 1930
Egg Beater No. 4, 1928
Swing Landscape, 1938
New York Mural, 1932
The Mellow Pad, 1945-51
Report from Rockport, 1940
For Internal Use Only, 1944-45
Little Giant Still Life, 1950
Switchski’s Syntax, 1961
Little Giant Still Life (Black and White Version), 1953
Men and Machine, 1934
Owh! in San Pao, 1951
Premiére, 1957
Fin, 1962-64
Whitney Gallery Views
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