Wendy White

October 16, 2013, 8:00am

Rainbow Kick – Wendy White, Pick Up a Knock at Andrew Rafacz

It is an image we all know well when we think of soccer. A player frozen in mid-air, as if swinging on an axis, legs outstretched, climbing above the head as the cleat reaches for the ball, seemingly out of reach and incredibly high and far away, until it makes that miraculous contact of an overhead kick. This image is remembered with the echo of a loud roar; it is the image sportscasters lose their voices to, where the crowd hits fever pitch – utterly spectacular and quintessentially European. But more than this, it is heroic and performative, a show of strength and superiority – it is, in a word, how sports culture codifies “male”. What is the opposite of this image? Wendy White’s (NAP #22, #28) exhibition Pick Up a Knock, currently on view at Andrew Rafacz, delivers the reverse (though not necessarily the antithesis) of the rainbow kick – the international soccer phenomena known as “flopping”. This image is almost equally as ubiquitous, though it champions the idea of failure toward success – the melodramatic falls, and frivolous collapses, all with the hopes of tricking the referee to call a foul. Within this idea of failure towards success – what has the potential to fail more than a young white woman taking on a canonized male subject matter, specifically that of a different race and language? White walks a fine line between representation and metaphor, quietly side stepping the urge to ask too many questions through the form of the exhibition itself. – Stephanie Cristello, Chicago Contributor

Wendy White | El Azteca, 2013, Acrylic on canvas, wood, enamel, 101 x 79 in. Installation view. Photo courtesy of ANDREW RAFACZ.

June 29, 2012, 8:15am

40 Galleries You Should Know if You Love Paint

It is a simple truth that in any given month, if you added up all of the available space in commercial galleries around the country, the amount dedicated to painting would dwarf that of all other media. The list that I have compiled consists of 40 United States’ based galleries that have a proclivity for painting. That is not to say that painting is the only medium that these galleries show; indeed, most represent artists producing work in a range of media. All of them, however, have shown a particular interest in the medium over an extended period of time, and all have stables of artists that are at least 50% painters.