Justin John Greene
There’s something undeniably eerie about the work of Justin John Greene. Shadows lurk on the walls of rooms that seem like they should be empty. Workers carry pained looks on their faces — feelings of despair, nothingness, and a sense of desperation crowd the canvases. In his solo exhibition Moonlighting at Loudhailer Gallery in Culver City, Greene conjures up sensibilities that remind one of the creative explosion that occurred during the Weimar Republic, the subject of a recent exhibition at LACMA, and a time (1919-1933) when Germany was rebuilding itself after World War I, soldiers were coming home maimed or not at all, consumerism was on the rise, women had more independence, and sexuality become a more free, fluid thing to explore. Much like the Weimar Republic’s New Objectivity (Neue Sachlichkeit) movement that asked questions about why Germany was in shambles, Greene’s work similarly leaves viewers without much hope.
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