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Is there a source of inspiration more endlessly fascinating, yet also fraught, than the human body? Art has turned to corporeal forms for as long as it has existed, depicting the pain and the beauty of our earthly cages. Yet seeing the crane of a neck, the arch of a back, the gaze of an eye can send us reeling anew, trying to understand the image before us as we try to understand ourselves. In the artist Cristina BanBan’s dazzling new show at Skarstedt gallery, on Manhattan’s Upper East Side, the female form is in full, commanding force, tapping into the long tradition of the painted nude. The 15 oil paintings in “Cristina BanBan: Mujeres” (on view through December 17) evoke a seizing of power, a recapturing of attention. The women are bold. They are strong (those hands!). Their Rubenesque bodies, projected onto canvases that can stretch more than seven feet tall, are shapely, fleshy, voluptuous. Their presence is visceral, immediate yet intimate, and, yes, sensual. But they are also at a remove, not so much beckoning the viewer as daring them to dwell. Who are you to stare? Who are you not to?
The glossy casting makes a little more sense in this context. The Crown aims to shed light on overlooked or forgotten royal stories, like Season 4’s inclusion of the queen’s “hidden cousins,” Nerissa and Katherine Bowes-Lyon, who were institutionalized in the 1940s due to their developmental disabilities. One of Season 5’s post-credit spotlights focuses on a far less shocking piece of history: Prince Charles’s long-running, impactful youth charity, The Prince’s Trust (of which West is a real-life ambassador). In it, The Crown does the most to depict West’s Charles as an underrated royal, dancing jovially with a diverse group of young Britons. It’s a stretch, but thanks to West, Prince Charles looks cooler (and hotter) than ever before.
“The subject of my work has always been the female form,” BanBan, 35, told me in her airy Bushwick studio ahead of the opening. The paintings in “Mujeres,” though, seem particularly focused: The exhibition’s title means “women” in Spanish (she was born in Barcelona and is now based in Brooklyn), and all but one of the paintings have the title Mujeres or Mujer. This nomenclature is a nod toward Willem de Kooning, her artistic exemplar; his abstract-heavy Woman portraits are a clear inspiration. Both series layer body parts to surreal effect, using lines, proportion, and color as means of distortion. For BanBan, a hand from one figure will often jut out of the breast or hip of another within the frame, like in Mujeres I, a riveting piece in Skarstedt’s first-floor space. But where de Kooning imbued his paintings of women with an almost aggressive intensity, BanBan projects something different, something softer but more potent. Perhaps it’s because BanBan’s portraits inherently offer something de Kooning’s cannot: The painterly perspective of a woman.
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