Tracey Emin: Lovers Grave

Matthew Marks Gallery, New York, New York November 10 to December 22, 2023

These new works are signature Gary Hume: slick, flat, and glossy. He explores his languid forms with household alkyd paint, leaning, in this case, toward abstraction. The shapes are seemingly unchallenging and easy to digest — is this the visual equivalent of Nickelback? — although the color palette has some interesting dissonance. The motif of swans heads is scattered through the paintings, but they are abstracted and non-specific in their storytelling.

The housepaint used is interesting as some of the early work that established his reputation is starting to effloresce, as house paint alkyd contains different sets of acids than fine arts paints. The substrate is aluminum, which Hume has found balances the need for a visually perfectly flat surface with lightness, strength, and stability.

The questions on this work revolve around the level of seriousness. Is this work glib? Is it overly stylized? Does it have a narrative tension? Not sure that this is much more than law firm conference room art.

Hume (England, 1962) works in both London and the Catskills, New York, although recently put the Catskills studio up on the market.