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Lisa Alonzo 

When: Thursdays-Saturdays. Continues through March 1 2020
De Kooning once declared translucent oil paint made to paint human skin; Wayne Thiebaud might have contended that the creamy medium was ideal for baked goods, as his lusciously impastoed cakes and pies demonstrate, almost edibly. Lisa Alonzo uses chefs’ pastry bags to apply dabs of acrylic color mixed with molding paste, creating images composed of dots à la Seurat, or assembled of tesserae, the mosaic tiles that once immortalized saints. From a distance, Alonzo’s mass-media images read legibly; up close, they atomize into color made tangible. One critic sees her “whip[ped] cream ... dream world” as a wry indictment of consumer society, torn between the real and the virtual. The painted icons in Cool World immortalize the superhero (“Canceled”) and toy soldier (both versions of “A Landscape”) ephemera of our decidedly unheroic mass culture; our infantile Lego egomaniac (“Simulation 45”); and iconic paintings by Rivera (“The Burden”) and Thiebaud (“JFK and Three Machines.”)
— DeWitt Cheng

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