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In a 1998 accord with the artist-designer Jorge Pardo, Ms. Owens acknowledges the role of painting as décor. He fabricated simple bedchamber sets in shades of brown, orange and anemic greens. She fabricated analogous paintings that characterize ample beehives with loopy, cross-pollinating bees active about — a arena she begin abstract on a austerity boutique pillow.
A arresting contempo abstraction, big and red, is dotted with over a dozen auto (bicycle, stroller, go-kart). It may pay accolade to Marcel Duchamp’s aboriginal bicycle-wheel ready-made, but it additionally echoes a baby red painting actuality — a accepted annual still activity whose blooms are sewn-on buttons. A contempo canvas could be a awe-inspiring accolade to Jackson Pollock’s bouncing accepted compositions — alike admitting it is fabricated absolutely of cats, fatigued freehand in charcoal, affianced bottomward with $.25 of printed filigree and alternate with bursts of aerosol paint.
The appearance — organized by Scott Rothkopf, the museum’s agent administrator of programs and arch curator, and Jessica Man, a curatorial abettor — is accompanied by an avant-garde anthology of a archive that has the array and bright pages of a September affair of Vogue, which somehow fits. In addition instance of Ms. Owens’s generosity: anniversary awning (of the aboriginal run of over 8,000 catalogs) is a one-of-a-kind silk-screen fabricated by the artisan and her crew.
The archive brims with archival absolute — notes, sketches, account releases and amount lists — and photographs superimposed, with bead caliginosity galore. Interspersed are articulate histories and comments from family, friends, collaborators, above agents and students. Although there are several essays, the accumulation is a affectionate of adventures in the raw. (The alone downside is that it’s not so advantageous as a almanac of the absolute show.) It abstracts Ms. Owens’s cerebration and alive processes, her aesthetic association and the basics and bolts of her career, starting with typed belletrist and proceeding to email and argument exchanges with dealers and curators, alike those for this show. Designed by Tiffany Malakooti, the archive takes ablaze advantage of Ms. Owens’s credible abhorrence to bandy things out.
This smart, admirable exhibition bodes able-bodied for painting, exhibition-making and alike art-book design. The aggregate exudes an optimism like that accompanying Kerry James Marshall’s blood-tingling attendant at the Met Breuer aftermost year. These two artists are actual different, but their basal bulletin is that painting can be renewed in means we haven’t apparent before, whether it is adapted by Mr. Marshall’s brainy brainwork on atramentous activity in America, or exploded from within, as in Ms. Owens’s worldly, encompassing formalism. That neither artisan is amid the accepted white macho suspects confirms already added that aberration and assortment are capital to cultural vitality.
An beforehand adaptation of this analysis misstated Jessica Man’s position at the Whitney Museum. She is a curatorial assistant, not an abettor curator.
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