Katherine Bernhardt, whether in her paintings or make-shift Moroccan rugs, is rapt by neons and geometries. The artist, who works in New York, takes an almost hasty-flick of a brushstroke that lands as a jagged architectural form — figures cut in space and in buzzing colors that leave a mental trace.
Seemingly each month, multiple galleries, museums or art fairs across the world exhibit Bernhardt's large-scale fantasies and rug-centric installations, as seen in 2017 at Art Basel and with a solo retrospective at the Modern Art Museum of Fort Worth, Fort Worth. "I think the best painters don't intellectualize their own art—they just make stuff," she says; but with sharks circling trash in the water in today's climate, as is depicted in Sharks, Toilet Paper and Plantains, it's not hard to see Bernhardt's deeper meanings.
2019 Lithograph in colours, on BFK Rives paper, the full sheet. S. 50.6 x 76.3 cm (19 7/8 x 30 in.) Signed, titled, dated, and numbered 23/100 in pencil (there were also 10 artist's proofs), co-published by Art Omi and Art+Culture Projects, New York, framed.
