NEW YORK, NY.- Jacqueline Humphries integrates gestural expression with the effects of new technologies, exploring how painting can capture and complicate the sensory experience of a screen-based world. Her imposing, large-scale canvases have long equated painting with other media interfaces, subjecting its analog format to an evolving set of signs and symbols from our online vernacular.

These latest works—presented singly or linked in multi-panel configurations—feature stenciled motifs of emoticons and emojis, logos, and digitally-enlarged patterns that fill the surface, derived from images of white noise or splattered ink from a faulty printer. The prevailing mood skews toward the ruminative here, and the style of rendering toward deformation; Humphries uses the trappings of our networked existence to weigh how it actually feels to inhabit it.

Jacqueline Humphries lives and works in New York. This solo exhibition will be her tenth with Greene Naftali since 1995. Her work is included in the 59th Venice Biennale, The Milk of Dreams (on view through November 27) and was the subject of a major survey at the Wexner Center for the Arts, Columbus, in 2021. Other institutional solo exhibitions include Dia Art Foundation, The Dan Flavin Institute, Bridgehampton, New York (2019); Carnegie Museum of Art, Pittsburgh (2015); and Contemporary Art Center New Orleans (2015).

Humphries’s work is in the collections of The Museum of Modern Art, New York; Whitney Museum of American Art, New York; Solomon R. Guggenheim Museum, New York; Metropolitan Museum of Art, New York; Albright-Knox Art Gallery, Buffalo; The Art Institute of Chicago; Museum of Fine Arts, Boston; Hirshhorn Museum and Sculpture Garden, Washington, DC; Carnegie Museum of Art, Pittsburgh; Glenstone Museum, Potomac, Maryland; Hessel Museum of Art, Annandale-on-Hudson, New York; San Francisco Museum of Modern Art; Tate Modern, London; Fondation Louis Vuitton, Paris; and Museum Brandhorst, Munich, among others.