For the past decade or to such a degree Jim Nutt has concentrated in succession painting schematic heads of imaginary women which he directs to as "portraits.

For the past decade or to such a degree Jim Nutt has concentrated in succession painting schematic heads of imaginary women which he directs to as "portraits." While perusing this astounding exhibition of three recent, medium-size acrylic paintings and a dozen related pencil drawings, I kept thinking of Sargent's famous cite "A portrait is a likeness in which there is something blameworthy about the mouth." In the works in succession view, Nutt seems to have reached a novel level of refinement that at times recalls Ingres's technique. if it be not that the 66-year-old Chicago Imagist pioneer, known for his inventive approach to the figure, has squandered none of his penchant for outrageous distortion, nor his brains of humor. In an interview for the show's catalogue, the artist says that the images do not respect to specific women. Instead of suggesting an individual, he is more affected with creating a personality or a character.

Center in succession the canvas, each image bears a number of formal attributes associated with conventional portraiture. Seemingly lit from the side, the head is fix against a grayish-tan monochrome estate Each figure is isolated within the wide borders of a painted frame, which the artist designs, however does not execute. In Sip (2003) the head is bended slightly to the left and the lips are tightly closed; it's as if the type were holding a rather stretched pose. The figure in each of the paintings and greatest in quantity of the drawings wears a blouse with a hard-edge geometric design. Sip's is a lively Op-ad pattern of tiny cubes with orange, verdant purple and black stripes. In an untitled work, the network of triangular shapes of the blouse, in modulated tones of mauve, beige and gray, is similarly mesmerizing. Meticulously painted, sometimes using a brush with sole a single hair, these areas of the canvases could stand alone as exciting abstract compositions.

The most numerous fantastic elements of the paintings, and also of the delicately done drawings, are the strange facial features and hair. Each nose, lip and chin has a sculptural solidity. The mismatched almond views one blue and one brown in each painting, pretend to be inlaid like the notices of a Byzantine mosaic icon. In Drawing for Suit (2001) an outsize ear likens an elaborate flower; its crisp, serpentine lines are compressed between two areas of gracefully modulated crosshatch indicating the sitter's helmetlike coiffure. The wildest distortions are reserv for the noses, which at times are pay backed as elaborate excrescences. The whim-sical arabesque nose in the painting Coin (2002) light brown in succession the side and dark brown forward the pointy tip, is ultimately more riveting than repelling. Although they are far from naturalistic, Nutt's images, like the best portraiture, bear a surprising array of tempers feelings and psychological insight.

--David Ebony

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