Alexi Worth's Third Solo Exhibition at D.C. Moore Gallery Features Clever Paintings of White-Collar Scenarios

Alexi Worth presented his third solo exhibition at D.C. Moore Gallery in New York City from November 13, 2008, to January 3, 2009. The paintings initially appear as organic abstractions but reveal close-up views of white-collar scenarios upon closer inspection, reminiscent of brain teasers. Works like 'Monograph' (2008) feature Gerberman, Worth's art critic alter-ego, while 'Examples' depicts an art historian's perspective with slides on a light table. Other pieces, such as 'Eye To Eye' and 'Thumbs,' explore voyeuristic and erotic themes, with 'Half in Hand,' 'Arranger,' and 'Speckled Pyramid' applying abstract patterns to sexualized fruit imagery, echoing M.C. Escher's style. 'Tear sheet' references Juan Gris's Cubism and Surrealism through a crumpled fashion ad. Worth, known for writing in publications like The New Yorker and Artforum, employs a grainy, opaque paint surface and austere earth palette, aiming for quality painting without irony. His work references art history, including Manet's use of frontal lighting, though Worth's deco-like stylizations create distance. Compared to John Currin, Worth is seen as a narrative painter focused on images about images, positioning him favorably in the contemporary art scene. The exhibition balances humor with serious artistic intent, reflecting Worth's dual career as a painter and public intellectual.