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The material conditions of being an artist in New York have a direct impact on the aesthetics and considerations taken in the studio and within an artist’s practice. While the return of the influence of Arte Povera and the prominence of post-studio practices can both can be attributed to ideological and conceptual decisions or to new “structures of feeling” in Raymond Williams’s terms, they can also be translated and defined through the prices of lumber, rising studio costs, and the commuting culture created through the gig economy.
Just a handful of the fourteen paintings in Josephine Halvorson’s “Unforgotten” called on trompe l’oeil conventions. But with the show following hard on the heels of the controversial “Cubism and the Trompe l’Oeil Tradition” at New York’s Metropolitan Museum of Art, it was hard to avoid focusing on the connection. Halvorson has long depicted vertically oriented tableaux parallel to the picture plane (corkboards or just wooden walls) with pinned-up receipts, sketches, letters, and flyers, as in New England Blacksmiths, 2021, or Important Notice, 2023, both of which were on view here. Her intention