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Albert Behar

Lisa Corinne Davis is a New York-based artist who creates mostly gridded works consisting of small increments of painted or drawn imagery, collaged snippets of newspaper or diminutive digital photographs. …Her grids may symbolize pigeonholes but she pays homage to the individuality of people. Her theme and her use of small details to create an imposing composition are quite impressive.
— Jonathan Goodman, Art In America (July 2003)
Obsessive as they are beautiful, the paintings and works on paper are elaborately layered and constructed to mask and scramble (society’s) over-simplistic labels. Davis draws on a rich array of sources, from found texts, maps, fingerprints and altered photographic portraits of friends to present a more individualistic view of society’s complexity.
— Judd Tully, High and Inside Catalogue (2003)
…written narratives are hand-altered, faces missing from history are inserted, and distinctions of race and ethnicity are subtly confused. Davis demonstrates how pointed information and good-looking painting can co-exist.
— Holland Cotter, The New York Times (April 2001)
Existing between collage, painting and drawing, the works provide metaphorical reservoir in which form and content merge and meaning seems embedded in the materials themselves.
— Susan Hoeltzel, Lehman College Gallery (2001)
Through the process of working with a repetitive central form, Davis is confronting the dilemma of much recent abstraction by taking her own path, avoiding the burden of modernist purity and the equally limiting postmodern tropes of content specificity to make highly original painting.
— Franklin Sirmans, Lehman College Gallery (2001)
Her studies…reflect keen intelligence and depth of feeling.
— Frances Riccard, COVER (May 1998)
Large, heavily layered, antiqued collages meditating with poetic indirection on race, culture, history, and geography.
— Ken Johnson, The New York Times (May 1998)
Once you give Davis’ paintings your undivided attention, they pay you back tenfold in terms of ideas, original solutions and a remarkably innovative use of materials.
— Joy Hakanson Colby, The Detroit News (Oct. 1994)
Brilliantly conceived and thought-provoking, these mixed media wall pieces provide strong visual analogies for the quest for individual identity...
— Jerry Cullum, The Atlanta Journal-Constitution (Aug. 1994)
Each piece is rough and raw as an object but delicate in its painted imagery, which creates a poignant tension between past and present.
— Edward J. Sozanski, The Philadelphia Inquirer (Nov. 1993)