Steven Cushner’s show of paintings at Hemphill is handsome, essential and predictable.
Ten years back, painter Steven Cushner had an idea for a new series. He needed space to work out a few massive canvases that wouldn’t fit in his studio in Brookland. So his longtime gallery, Hemphill, helped him line up a sort of
Cushner finished three untitled paintings in that empty flower shop: big wet gestural swoops served over abstract dappled atmospheres. Much the same as hisat the American University Museum in 2023. And much the same as his latest show on view at Hemphill. The only thing that’s ever shifted much in his work is the scale.
Steven Cushner’s latest show for Hemphill is a Steven Cushner show through and through — handsome, essential and predictable. The level of tautological consistency that Cushner has achieved is admirable in a sense; many artists work their entire careers without ever arriving at an established, mature style. Yet the balance and precision in Cushner’s paintings, maintained over so many years, approach something closer to formula.
There’s a nudge in the direction of pop art in Cushner’s new paintings, to be sure. Loosely recognizable forms, like the cumulonimbus shapes in “After the Storm #1” or “Cloudbank” , deviate slightly from the more totemic shapes the painter has favored in the past. But it’s less a new direction than another iteration of a never-ending cycle.
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