By the mid-1980s painting had been declared “dead” several times over. But for Jacqueline, the medium became a “rogue practice”; however risky, it has remained her foundation. “Painting can adapt to anything,” she notes. Throughout her career she has thus adapted to—and subverted—painting’s formal and discursive conditions. Read more in the context of her newest at Greene Aftalia.
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Painting After Art is Dead 