From a consideration of the Owens’s varied use of line (Suzanne Hudson), the artist’s brilliant redefinition of painterly gesture (Walead Beshty), or her mining of visual contradictions (Trinie Dalton), Owens’s formal and conceptual inventiveness is reviewed from multiple perspectives. Owens’s use of language—as a graphic element, as words to be read, or more broadly as a system of signification that she explores and ultimately upends—is attended to by Rachel Kushner and Linda Norden. Mark Godfrey traces the recent developments in the scope of Owens’s work from 2012 to now. And wonderfully pithy texts by Gavin Brown and Wendy Yao (as well as a section of Norden’s essay) bookend the volume with personally inflected musings on the artist’s gallery/studio space in Los Angeles, 356 S. Mission Road.
LAURA OWENS surveys the many facets of the artist’s work that have been responsible for her influential career, and it is the first title to critically assess the Owens’s most recent work.