Speaking with Humphries in 2009, the celebrated painter Cecily Brown noted that Humphries’s paintings “discourage stationary viewing. They seem to want to be perceived from multiple viewpoints” (Cecily Brown in conversation with Jacqueline Humphries, in: Cecily Brown, ‘Jaqueline Humphries by Cecily Brown’, BOMB 107, Spring 2009, online). It is these attempts at a form of digital cubism, in which Humphries attacks the sacred serenity of abstraction in a similar way that Picasso attacked figuration, that have brought her critical acclaim. Art in America noted that she “has found a perfectly synthesised pitch that is all her own” (Nana Asfour, ‘Jacqueline Humphries’, Art in America, 16 October 2012, online). She is a painter’s painter: John Currin, Cecily Brown, Amy Sillman and Sean Launders are all known admirers of her work, interested in the various pictorial stances she has taken into order to critique to the position of the post-modern painter.
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