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It’s impossible to think about Emma McIntyre’s work without thinking about all of art‘s history, and it’s impossible to think about Emma McIntyre’s work without thinking about Los Angeles.
And so, in Syllables in Oleander there it is: art history accumulated, laid bare of historical context, and filtered through the prism of L.A.’s shadowless daylight— revivified and teased out to excite anew.
“Theater is the negation of art” [1] writes Michael Fried derisively from 1967. So be it, McIntyre and Los Angeles respond in unison from 2025, distilling and amplifying the artifice out of AbEx‘s gospel to resuscitate its corpse into a presence completely of its own time—a history-less, frontier abstraction rising up from a sun-burnt, jacaranda-tinted coastal mirage. The musty old canvas becomes a stage, populated with myriad characters, busy with action. In Los Angeles, says the poet Stephen Yenser, in place of sun-sets,…
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Press Release
It’s impossible to think about Emma McIntyre’s work without thinking about all of art‘s history, and it’s impossible to think about Emma McIntyre’s work without thinking about Los Angeles.
And so, in Syllables in Oleander there it is: art history accumulated, laid bare of historical context, and filtered through the prism of L.A.’s shadowless daylight— revivified and teased out to excite anew.
“Theater is the negation of art” [1] writes Michael Fried derisively from 1967. So be it, McIntyre and Los Angeles respond in unison from 2025, distilling and amplifying the artifice out of AbEx‘s gospel to resuscitate its corpse into a presence completely of its own time—a history-less, frontier abstraction rising up from a sun-burnt, jacaranda-tinted coastal mirage. The musty old canvas becomes a stage, populated with myriad characters, busy with action. In Los Angeles, says the poet Stephen Yenser, in place of sun-sets,…
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