Cannon Hudson by Rachel Kushner

Part of the Editor's Choice series.

BOMB 93 Fall 2005
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Discover MFA Programs in Art and Writing

Cannon Hudson 01

Cannon Hudson, Corner Piece, 2003, 47 × 39 inches, oil on canvas. Courtesy of the artist.

Cannon Hudson paints architectural interiors. On first glance, many of his paintings look like pictorial space populated by shapes resembling Sol LeWitt sculptures—that is, if LeWitt had coated his objects in eraser pink, mauve, and forest green, and then sanded his crisp, geometric corners into softer, more biomorphic elbow joints. And then these transfigured objects were placed in a room with pieces of Knoll furniture and maybe an Ellsworth Kelly, and Louise Lawler had photographed the whole thing. And Hudson had then painted from the Lawler photograph.

But let’s backtrack. Cannon Hudson paints architectural interiors. On second glance, the paintings are Guston-smudgy and semi-realist, featuring tricky, vaulted, and occasionally exploding perspectives. Palpably three-dimensional, they’re counteracted by flat geometry—bars, angles, and patterning. Steeped in a well-tempered modernist aesthetic, they depict representationally select themes of an era that was defined by its rejection of representation—an inversion reminiscent of Thomas Nozkowski, who similarly manages to deftly, discreetly point to the real world from within a space that typically signifies pure painterly abstraction. In Hudson’s recent paintings, on view at PS1 this fall, wood grain, Islamic tile patterns, and geometric flooring lie before abstracted halls of mirrors—mirrors as a method for painted space to echo, repeat, and see itself, panes of reflection that flatter (and shatter) the surrounding patterns, and confound (and please) the viewer.


Cannon Hudson’s paintings will be featured in The Painted World, an exhibition curated by Bob Nickas, opening October 23 at PS1 in New York.

William Eggleston by Rachel Kushner
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Josiah McElheny’s The Light Club and A Prism by Sabine Russ
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The artist Josiah McElheny has published two books that display his collaboration with artists, scholars, scientists and creative writers, offering a multitude of voices, speculations, fictions, and facts.

David Diao by Matthew Deleget
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Diao’s first comprehensive retrospective, at the Ullens Center for Contemporary Art—fittingly, in the painter’s native China—is the occasion for a conversation that looks back at fifty years of artistic production.

Joanne Greenbaum by Jeremy Sigler
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Greenbaum on the fundamentally personal and private process of creating art, and how modernism, rage and rebellion fuel her creativity.

Originally published in

BOMB 93, Fall 2005

Featuring interviews with Arturo Herrera and Josiah McElheny, Jennifer Bartlett and Elizabeth Murray, Lincoln Perry, Anthony Downey and Yinka Shonibare, Eliot Weinberger and Forrest Gander, Lionel Shriver, Noah Baumbach and Jonathan Lethem, George Lewis and Jeff Parker, and David Rabe and Evangeline Morphos. 

Read the issue
093 Fall 2005 1024X1024