Avery Singer’s paintings speak to the production and dissemination of works of art. How artworks are made, how artists are “made,” and the interaction between artists, curators, and institutions are themes commonly portrayed in images that are predominantly flat, rendered in grayscale, and inhabited by bodies translated through the signature style of Google’s SketchUp software and other digital tools. Singer creates pictures that are iconographically complex, culled from Internet image searches based in genres and trends inherited from the history of art. Pursuing what she has called “new possibilities for portraying naturalism,” Singer’s mode of painting brings together a mix of visual traditions that span the technologies of visuality, from the pre-photographic to the post-digital.
Hammer Projects: Avery Singer is organized by curator Aram Moshayedi with MacKenzie Stevens, curatorial assistant and January Parkos Arnall, curatorial assistant.
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