Wendy White’s career hasn’t exactly been lackluster. In fact, at this point her multi-paneled spray paint canvases have been exhibited so many places she’s almost too successful to be highlighted as an “up and coming” artist. But despite recent shows at Leo Koenig (New York), Andrew Rafacz Gallery (Chicago), and Galeria Moriarty (Madrid), White has yet to see the kind of attention other artists of her generation—Matthew Day Jackson, Dana Schutz, and Jules De Balincourt to name a few—have received. White’s work has mysteriously been passed over for survey shows such as the Whitney Biennial and PS1 Greater New York and she has yet to collect comparable levels of press coverage as the aforementioned artists.
But this seems likely to change. White’s reputation as a painter has solidly grown over the years, her name coming to the lips of many. But rather than gaining buzz through the usual channels—museum shows, art magazines spreads, and high profile commissions—White’s rising esteem is due to little more than the work itself. A master of unexpectedly pleasing canvas shapes and paint application, her work brings to mind the fluid paint handling of Christopher Wool, the complex compositional arrangements of Jean-Michel Basquiat, and the aggressive surface treatments of Sterling Ruby. More than many of White’s contemporaries, the artist enjoys the spatial illusion of paint, creating areas of color that read completely flat while other passages extrude and recede, impressions often complicated by the introduction of objects and her recent experiments with text. White’s upcoming solo exhibition in Madrid will showcase a number of these paintings in which paint literalizes word play.
Where you’ll see her work next: No New York shows on the horizon, but if you find yourself in Switzerland, Tennessee, Tokyo or Madrid in the next few months look her up.