Dumas and Peyton are united in their limitations as well as their strengths—and, arguably, in their capacity to ensure that their limitations are strengths. Dumas’s photo-dependency gives her imagery political edge. Denial of sensory depth almost punishes viewers for yearning for it, reminding them of the urgencies of injustice and exploitation that this art – and their consciences – should be addressing. Peyton’s style wallows in its own patheticism, as if cloying, ephemeral, illustration-technique are symptoms of self-pity. Such knowingly retarded means sit perfectly with the basically adolescent emotion she taps, which is that of star-struck infatuation.

Elizabeth Peyton

Lothar Baumgarten at Marian Goodman, Sue Coe at Gallerie St. Etienne, Ron Gorchov at Nicholas Robinson, and Elizabeth Peyton at the New Museum

Parrish Art Museum 25 Job’s Lane Southampton, New York 631.283.2118 Part I: May 23- July 18, 2004 Part II: July 25- September 12, 2004 This summer’s exhibition at the Parrish had a simple premise: to survey recent work by artists who live and work at least part of the time on the eastern end of … Continued

Alex Katz’s Small Paintings at the Whitney, Woodcuts and Linocuts at Peter Blum, Thomas Nozkowski at Max Protetch, James Siena at Gorney Bravin & Lee, Elizabeth Peyton at Gavin Brown’s Enterprise