"Art Gallery Shows to See in May" by Dawn Chan

The six large paintings in Emily Kraus’s first solo show in New York seem to foreground a visual glitch that feels both familiar and baffling. They feature the splatters and drips of gestural abstraction — in the lineage of Jackson Pollock or Joan Mitchell — but they assemble a skidding repetition of these paint marks across canvas.

As such, they recall the early chronophotography of Étienne-Jules Marey, which turned a pole-vaulter, for instance, into a many-limbed, centipede-like form. There are even echoes of Duchamp’s famous “Nude Descending a Staircase, No. 2,” inspired by these early photos to freeze sequential motion in a single image.

But here’s the puzzle for painting nerds: How does Kraus make these works? 

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