368:(London)—Davis extended the complexity of her themes and abstract syntaxes. Her proliferating forms—seemingly drawn from microscopic and macroscopic realms (cells, roads, maps, city grids, geographic fault lines), as well as the mechanical world of circuits and motherboards—charted concepts encompassing the urban experience of space and time, the fragmentation of contemporary life, and the diverse, intersecting strands of identity. Critics described them as "haphazardly rendered topographies or warped atlas pages" delicately balanced between organic chaos and linear order, whose titles (e.g.,
396:, 2019) summoned a range of contradictory associations—natural to man-made, ephemeral and organic to technological—as well as allusions to corporate and governmental intrusion into private life. Yau wrote, "the artist’s ability to call forth the invisible world, in which we are constantly leaving traces of our presence, injects an unexpected and much-needed jolt into abstraction"; Wilkin suggested the paintings evoked "the long views inherent in mapping and the intimacy of textiles."
271:). In a similar way, she employs both objective, "natural" color and expressive, sometimes artificial color, moving between descriptive and psychological modes. Such juxtapositions also play out in the titles of her works, which frequently merge "factually" grounded words (territory, atlas, computation, position) with internal, subjective words (specious, psychopathic, metaphysical, impersonation).
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history books: multiracial headshots, cutouts of eyes, multicultural alphabet signs, maps and fingerprints, reproduced in a palette approximating a range of skin tones. She combined them into large, quilt- or chart-like compositions that abstracted systems of categorization while blurring reductive labels in favor of an individualistic view of social complexity.
345:, 2007). Davis painted them with an eye-catching, sometimes artificial palette that departed from the more somber earth and flesh tones of her past work; at times, the color emitted an unsettling or poisonous aura, evoking burst corpuscles, cellular malignancies, fire or lethal sludge, as with the feverish, red-orange smears and shapes in works such as
497:, and what she termed "Neo-Romanticism" in young artists' work. Her essay, "Towards a More Fluid Definition of Blackness" (2016), examined the art-world racial divide and constraints on the expression of black experience, including expectations that the work of black artists should embody overtly political representations of blackness.
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of imagery and techniques. Davis approached subject matter in a more subtle, open-ended manner balanced with formal concerns, expanding earlier examinations of racial, gender and identity codes into evocations of wider knowledge systems, often revealed as contingent and futile in terms of their ability to capture the plurality of life.
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Reviews identified a deliberate, increasingly unstable quality of collapse or collision in the paintings in Davis's show "All Shook Up" (Pamela
Salisbury, 2020). Its fifteen vertically oriented, vibrant works combined warped and decomposing grids, puzzle-like shapes, abutting planes and linear bands,
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In the 2000s, Davis staked out an increasingly abstract and fluid position in canvases that resembled maps or networks and explored systemic, documentary and narrative impulses. Situated more purely in painting, they dispensed with collage elements but retained that aesthetic through a dense layering
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In solo shows at June Kelly (1998), Lehman
College (2001) and Marlborough Gallery (2003), Davis produced obsessive, elaborately layered collage-style works that wedded modernist abstraction and postmodern content. They were created out of hundreds of variable elements taken from magazines, novels and
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The paintings in her show "Fact & Fiction" (June Kelly, 2007) combined skeins of curling lines, flat cartoonish shapes, and passages of spilled or squeezed paint, layered over backgrounds of blue, white, and green squares. The lines suggested skewed latitude and longitude grids or organic webs,
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frameworks. She does so by counterposing divergent structures and artistic forms in order to navigate between ideas of rationality and order and modes of expressivity, subjectivity and chaos. Her mark-making fuses two kinds of abstract language: line—as used objectively in geometry, mathematics and
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has written that Davis "courts ambiguity and multivalent associations" through an "inventive abstract language" informed by personal experience, social observation and the history of art. Her map-like compositions simultaneously evoke and undermine systems of coding and categorizing race, identity
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known for abstract paintings and works on paper that suggest maps and other encoded forms of knowledge. She employs abstraction as a means of rendering the complexities of contemporary experience—including her own as an
African-American woman—often questioning preconceived notions about identity,
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Davis has curated exhibitions at Lesley Heller, the Hunter
College Times Square Gallery (with Susan Crile), and Gerald Peters. The latter exhibition, "Representing Rainbows" (2016), was inspired by a 2014 article she wrote regarding the increasing appearance and meaning of rainbows—both a cliché
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Davis's early mixed-media work used visual analogies to examine race, the quest for individual identity, and distinctions between self and other, individual and group. This work included ink self-portraits—which she covered with graphite, leaving only ghostly figural images below semi-reflective
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critic Joan
Waltemath wrote, "The urban experiences of space and time that Davis presents are subtle distillations of moment and coincidence ... Her attempt to map the shattered terrain of contemporary life points both to an awareness of other times and a belief in navigating the present one."
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classification, and rationality versus subjectivity. Her densely layered, colorful work merges contrasting schemas, visual elements and formal languages, blurring distinctions between figuration and abstraction, real and fictive spaces and concepts, and microcosmic or macrocosmic reference.
194:. She and her brother were raised by their mother after their father died when Davis was four. Her mother worked two jobs in order to send her children to a private, otherwise all-white Quaker school; she also earned a PhD and a
296:(1996) was a representative early work, constructed out of pages from an old American history text, overwritten with new text that conveyed the constraints on identity posed by racially derived cultural assumptions.
376:, both 2015) undermined their reliability as maps. Joan Waltemath suggested these ideas were offset by humor and irreverence, expressed through Davis's use of outline as a kind of doodling gesture in works such as
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357:'s Lilly Wei wrote, Davis's "riddled maps seem both familiar and not, suggesting aerial views of enigmatic terrain, details of a landscape in toxic erosion … an updated
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while the flat shapes resembled landmasses or plant, insect and anatomical forms, accumulating details suggesting the technical and the handmade (e.g.,
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In exhibitions between 2010 and 2017—at Lesley Heller, Spanierman Modern, Galerie Gris and Gerald Peters (New York), Zolla/Lieberman (Chicago), and
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and knowledge, privileging complexity, contingency and the primacy of direct, individual understanding and perception over collective, often
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Her work belongs to the public collections of the Museum of Modern Art, Philadelphia Museum of Art, Fine Arts
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wrote that this work "meditated with poetic indirection on race, culture, history and geography," while
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1219:"'The Nature Of Women' Exhibition Honors The Female Artists Who Prove Abstraction Isn't A Man's Game,"
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surfaces—and wall pieces and objects that combined raw construction with delicate painted imagery.
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Davis has received a
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and Karen Wilkin suggested that their visual schemas and intentionally elusive titles (
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grids—and gesture, typically regarded in terms of affective expression (e.g., in
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placed in off-balance, syncopated rhythms and depthless space. Critics such as
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Cullum, Jerry. "'Layered' shows complex quest for identity, individuality,"
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described it as a blend of "pointed information and good-looking painting."
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1119:, Bronx, NY: Lehman College Art Gallery, 2001. Retrieved April 15, 2022.
607:"Fluid Interpretations: Lisa Corinne Davis Interviewed by Leslie Wayne,"
1248:"New York Foundation for the Arts Awards 2018 NYSCA/NYFA Fellowships,"
562:"Lisa Corinne Davis Critiques Corporate America Through Abstract Art,"
483:. Her topics have included blackness, feminist imagery, the artists
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1203:"Zolla/Lieberman Gallery Presents Two Compelling Solo Exhibitions,"
1041:"Noticing and being noticed: an interview with Lisa Corinne Davis,"
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Davis began receiving recognition in the 1990s, for exhibitions at
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in 1978 and earning a BFA in 1980. She went to graduate school at
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1389:"Goddesses, Ovaries, and the Seductress: Bring It On Home To Me,"
237:, among others. She also began teaching at that time, serving at
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Davis, Lisa
Corinne. "Lisa Corinne Davis on Niccolo di Pietro,"
1134:, New York: Marlborough Chelsea, 2003. Retrieved April 12, 2022.
1010:"Studio Art Co-Directors: Lisa Corinne Davis and Carrie Moyer,"
636:"Theory Mapping in the Interregnum: Lisa Davis, New Paintings,"
142:. She has also received awards from institutions including the
957:"New Views on Contemporary Civilization and Its Discontents,"
174:(London), among others. She lives and works in Brooklyn and
808:. Washington: National Endowment for the Arts, 1995, p. 76.
1359:, Personnel, Art in Embassies. Retrieved April 13, 2022.
222:, among others, on the way to earning an MFA in 1983.
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for two years before enrolling as a painting major at
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in 2017. She has been awarded artist residencies at
158:. Her work belongs to the public collections of the
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1156:Cohen, David. "High & Inside at Marlborough,"
1021:Wilkin, Karen. "Lisa Corinne Davis: Recent Work,"
806:National Endowment for the Arts 1995 Annual Report
1083:, May 29, 1998, p. E38. Retrieved March 28, 2022.
501:symbol and a sublime phenomenon—in student work.
282:, ink, graphite, colored pencil, 11" x 11", 1990.
1104:, May 4, 2001, p. E34. Retrieved April 12, 2022.
534:Wei, Lilly. "Lisa Corinne Davis at June Kelly,"
471:Davis has written essays on art and culture for
1528:"Towards a more fluid definition of Blackness,"
1373:"Towards a more fluid definition of Blackness,"
612:, September 30, 2021. Retrieved April 12, 2022.
1407:, February 18, 2015. Retrieved April 12, 2022.
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822:"Eviction Battles Imperil a Queens Art Haven,"
770:News. June 22, 2021. Retrieved April 13, 2022.
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994:"Personal Responses to A Page of History,"
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922:"Beer With A Painter: Lisa Corinne Davis,"
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1187:"Contemporary Art Steams Up the Hudson,"
1012:Announcements. Retrieved April 13, 2022.
896:, Art Faculty. Retrieved April 12, 2022.
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792:Award Winners. Retrieved April 12, 2022.
719:, August 2014. Retrieved April 12, 2022.
694:, Winter 2021. Retrieved April 12, 2022.
1468:, March 2014. Retrieved April 13, 2022.
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1539:artist page, Jenkins Johnson Gallery
1318:, Artists. Retrieved April 13, 2022.
1237:, Artists. Retrieved March 31, 2022.
735:, Fellows. Retrieved April 13, 2022.
445:National Museum of Women in the Arts
144:American Academy of Arts and Letters
118:, oil on canvas, 54.25" x 40", 2015.
81:American Academy of Arts and Letters
68:Painting, drawing, writing, curating
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1578:20th-century African-American women
1279:, People. Retrieved April 12, 2022.
858:Fine Arts Museum of San Francisco.
880:, Item. Retrieved April 13, 2022.
788:Louis Comfort Tiffany Foundation.
287:Early mixed-media work (1990–2003)
168:Fine Arts Museums of San Francisco
33:Baltimore, Maryland, United States
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1058:Sozanski, Edward J. "Galleries,"
804:National Endowment for the Arts.
978:The Atlanta Journal-Constitution
714:"Lisa Corinne Davis: Interview,"
406:New York Foundation for the Arts
328:, oil on panel, 30" x 22", 2007.
1305:News. Retrieved April 13, 2022.
1025:, Vol. 14, N4, 2021, p. 553–62.
156:National Endowment for the Arts
93:National Endowment for the Arts
1603:African-American women artists
1563:21st-century American painters
1558:20th-century American painters
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1303:"Lisa Corinne Davis in Siena,"
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467:Other professional activities
400:Awards and public collections
178:and is a professor of art at
138:In 2022, Davis was awarded a
1517:Lisa Corinne Davis interview
1497:Lisa Corinne Davis interview
1275:National Academy of Design.
1233:Pollock-Krasner Foundation.
874:Victoria and Albert Museum.
839:Philadelphia Museum of Art.
426:Museum of Fine Arts, Houston
410:Mid-Atlantic Arts Foundation
1333:. Retrieved April 13, 2022.
1292:. Retrieved April 13, 2022.
1266:. Retrieved April 13, 2022.
1143:Goodman, Jonathan. Review,
491:, the Dana Schutz painting
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1482:Lisa Corinne Davis website
1402:"Robert Reed (1938–2014),"
1355:U.S. Department of State.
1262:Bronx Museum of the Arts.
1171:"Gallery crawl in Hudson,"
844:, 2006, Lisa Corinne Davis
414:National Academy of Design
280:(Black) Heritage Search #5
172:Victoria and Albert Museum
164:Philadelphia Museum of Art
1327:New York Public Library.
1060:The Philadelphia Inquirer
751:Retrieved April 13, 2022.
749:"2021 Art Award Winners."
1463:"Representing Rainbows,"
424:House (Brown Foundation/
390:Registered Impersonation
239:Parsons School of Design
231:Bronx Museum of The Arts
1523:, Yale University, 2018
1342:Sheldon Museum of Art.
449:New York Public Library
347:Verifiably Metaphysical
1623:Pratt Institute alumni
1613:Hunter College faculty
1608:American art educators
370:Psychopathic Territory
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294:Essential Traits No. 1
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269:Abstract Expressionism
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1618:Hunter College alumni
1501:Gorky's Granddaughter
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1400:Davis, Lisa Corinne.
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1371:Davis, Lisa Corinne.
1301:Siena Art Institute.
1099:"Lisa Corinne Davis,"
1078:"Davis and Langdale,"
936:Hamer, Katy Diamond.
790:"Lisa Corinne Davis,"
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186:Early life and career
152:Louis Comfort Tiffany
140:Guggenheim Fellowship
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89:Louis Comfort Tiffany
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1418:Painters on Painting
717:Studio International
441:Montclair Art Museum
437:J. Paul Getty Museum
394:Captious Computation
324:Lisa Corinne Davis,
278:Lisa Corinne Davis,
160:Museum of Modern Art
114:Lisa Corinne Davis,
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1217:Brooks, Katherine.
1185:Princenthal, Nancy
1039:Majumdar, Sangram.
842:Willfully Whimsical
689:"At the Galleries,"
192:Baltimore, Maryland
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1507:Lisa Corinne Davis
1491:Sound & Vision
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1235:Lisa Corinne Davis
1206:Third Coast Review
1190:The New York Times
1174:Two Coats of Paint
1169:Joelson, Suzanne.
1102:The New York Times
1081:The New York Times
1044:Two Coats of Paint
1023:The Hopkins Review
997:The New York Times
960:The New York Times
894:Lisa Corinne Davis
860:Lisa Corinne Davis
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253:Work and reception
200:Cornell University
190:Davis was born in
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1466:The Brooklyn Rail
1450:The Brooklyn Rail
1097:Cotter, Holland.
992:Goodnough, Abby.
920:Samet, Jennifer.
820:Moynihan, Colin.
692:The Hudson Review
667:, September 2007.
639:The Brooklyn Rail
634:Waltemath, Joan.
489:Niccolò di Pietro
481:The Brooklyn Rail
374:Psychotropic Turf
359:War of the Worlds
351:Regulatory Plasma
316:Painting (2005– )
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538:February 2008.
509:
508:
506:
503:
468:
465:
401:
398:
378:Flim Flam Plan
355:Art in America
317:
314:
310:Holland Cotter
302:New York Times
288:
285:
254:
251:
227:Art in General
208:Hunter College
187:
184:
180:Hunter College
106:
105:
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96:
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74:
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66:
65:Known for
62:
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51:Hunter College
48:
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36:
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30:
26:
25:
22:
15:
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1640:
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1628:Living people
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1498:
1495:
1493:, Episode 207
1492:
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1128:Tully, Judd.
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926:
925:Hyperallergic
923:
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565:Hyperallergic
563:
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367:
366:Mayor Gallery
362:
360:
356:
353:(both 2007).
352:
348:
344:
343:Doodle Verité
340:
339:Mutant Schema
334:
327:
326:Doodle Verité
322:
315:
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297:
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212:Lynda Benglis
209:
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185:
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177:
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169:
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157:
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149:
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136:
133:
132:Brooklyn Rail
128:
127:visual artist
124:
117:
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97:
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82:
78:
75:
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63:
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41:
37:
31:
27:
20:
1530:
1520:
1513:, Episode 35
1510:
1500:
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1404:
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1157:
1152:
1147:, June 2003.
1144:
1139:
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1115:
1109:
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1080:
1059:
1043:
1022:
1017:
1004:
996:
977:
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932:
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876:
841:
824:
805:
763:
716:
712:Wei, Lilly.
691:
664:
638:
609:
586:
564:
535:
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492:
480:
476:
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470:
434:
403:
393:
389:
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363:
358:
354:
350:
346:
342:
338:
335:
331:
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301:
298:
293:
290:
279:
264:essentialist
259:Karen Wilkin
256:
243:Cooper Union
224:
189:
137:
131:
122:
121:
115:
1531:artcritical
1434:Artcritical
1420:, May 2014.
1376:Artcritical
1314:MacDowell.
589:, May 2015.
560:Yau, John.
494:Open Casket
485:Robert Reed
477:Artcritical
306:Ken Johnson
216:Ron Gorchov
39:Nationality
1547:Categories
1521:WYCX Radio
505:References
877:Birthmark
430:MacDowell
422:Dora Maar
47:Education
1405:Artforum
1330:Red Coat
1222:HuffPost
764:Artforum
473:Artforum
392:, 2020;
386:John Yau
380:(2015).
341:, 2006;
42:American
1288:Yaddo.
1251:ARTnews
941:ARTnews
665:ARTnews
587:ARTnews
304:critic
257:Critic
99:Website
1533:, 2016
1503:, 2021
235:Aljira
233:, and
170:, and
73:Awards
1116:Index
418:Yaddo
610:Bomb
487:and
479:and
372:and
349:and
218:and
150:and
29:Born
1549::
1519:,
1509:,
1499:,
1489:,
1364:^
1088:^
1067:^
1051:^
1030:^
985:^
967:^
948:^
901:^
885:^
867:^
851:^
832:^
813:^
797:^
775:^
766:.
756:^
740:^
724:^
699:^
672:^
646:^
617:^
594:^
572:^
543:^
513:^
475:,
459:,
455:,
451:,
447:,
443:,
439:,
432:.
420:,
245:,
241:,
229:,
214:,
196:JD
182:.
166:,
162:,
146:,
91:,
87:,
83:,
79:,
57:,
53:,
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