ArtSeen
Kristin Baker
Flat Out
Deitch Projects

I remember working at NASCAR one summer in Daytona Beach with my sister. The smell of charred rubber, beer, and white trash filled the arena. I never thought I would relive those memories in downtown Manhattan.
Flat Out is a show about fast cars, tight curves, and, explosions. Kristin Baker has created a full sensory environment. Walking into Deitch Projects, I was suddenly projected into the pit. Busted orange cones lined the lower walls leading into the main arena, where billboards towered above the marred remains of NASCAR and Grand Prix. I could smell the Castrol oil. Compared with the works displayed in Painting Report at PS1 last year, which were overshadowed by Al Held’s massive sci-fi landscapes, the paintings at Deitch demand to be reckoned with.
Baker is one of a group of geometrically and geographically driven artists delving into the explosion of form—Julie Mehretu, Franz Ackermann, and Matthew Ritchie all come to mind. In fact, one could place the paintings in Flat Out within a recent group show entitled Global Navigation System at the Palais de Tokyo this past summer. Baker navigates abstract geometries through her flattened and fractured translations of race car disasters.
Using race car driving as a direct connection to painting, Baker emphasizes the idea of control verses chaos. The press release claims that her work is a study of "how close one can get to over-stimulation without an aesthetic crash." Although the works themselves do not break any boundaries, in paintings like "2 Track Miles Per Hour," the stimulus is intense and ever-present. Staring at the colorful collage set off against a backdrop of shiny PVC, I was seduced. The works themselves project perspectival cues, thereby moving the viewer into a three dimensional space. But it is her layering of materials that make the paintings both multi-dimensional and illusionistic projectiles. With a giant explosion set bang in the center of the painting, I couldn’t help thinking of one of those cameras in the cars behind the accident, filming the disaster. The painting seems to emit an endless replay of the spectacle, the viewer serving as the commentator.
In the smaller room adjacent to the "main arena" is a collection of studies and drawings hung salon style, unframed and clinging to the wall with cloth tape. There is a drawing of an empty bandstand that caught my attention. The drawing, rendered in graphite on Mylar, is quiet when compared to the paintings, depicting a scene long after the racing has ended. The empty bandstand brought me back to the giant blank white billboards in the other room, and I thought, so this is Baker’s contemporary landscape! The billboard, like the stands, embodies our timeless infatuation with spectacle.
Overall, the show left me longing for a Bud Light, a pack of Winston’s, and a trip to the go-kart lanes. I couldn’t help but feel the fiberglass on my skin, the broken shards still on my trousers and shoes. I left feeling I had seen something extraordinary, and devastatingly beautiful—literally.
RECOMMENDED ARTICLES

SUE DE BEER with Jessica Holmes
JUL-AUG 2018 | Art
For the past twenty years, Sue de Beer has been using, challenging, and subverting the tropes of horror to make experimental films that are by turns unsettling and beautiful, and infused with a sly-eyed humor. Her sixth major production centers in and around a medical clinic located on a remote island off the New England coast, whose doctors, nurses, and patients all hold their secrets, and are possibly not what they seem. De Beer has long wished to make a werewolf film, and on the occasion of her fourth exhibition at Marianne Boesky Gallery, I sat down with her to preview and discuss her newest piece, The White Wolf.
But I Did Learn to Swim: A Few Memories of Kevin Killian
By Trace PetersonSEPT 2019 | Poetry
Trace Peterson is a trans woman poet and critic, the author of Since I Moved In (new & revised)(Chax Press, 2019) and other books. She edits the journal/small press EOAGH which has won 2 Lambda Literary Awards including the first given in Transgender Poetry. She is also co-editor of the groundbreaking anthology Troubling the Line: Trans and Genderqueer Poetry and Poetics (Nightboat Books, 2013) and co-editor of Arrive on Wave: Collected Poems of Gil Ott (Chax Press, 2016).

Elaine Cameron-Weir: strings that show the wind
By Valentina Di LisciaOCT 2019 | ArtSeen
That the elements of Elaine Cameron-Weirs works are at once ruggedly utilitarian and impossibly arcane is one of her brilliant conceits.
Memories for Olga
by Lara Moreno, translated from the Spanish by Katie WhittemoreJUL-AUG 2019 | Fiction
I can manage to recall when it all began, but I no longer have a clear conviction that we were doing something worthwhile.