Is any art that depicts a vivid sense of doom and gloom immediately relevant in 2017? Yes, if Robyn O’Neil’s current solo exhibition The Good Herd is any indication.
Previously, the Los Angeles-based artist’s dark surrealism felt like an anachronism. Her drawings in exhibitions like 2011’s Hell were, at once, a throwback to Odilon Redon’s trippy drawings and Edward Gorey’s Goth wit. This didn’t exactly click during the comparative calm of the Obama years. But now, with the daily hellish roller coaster of Trump’s administration, O’Neil’s anonymous figures and ominous symbolism have become strikingly timely, addressing the isolation many feel from their fellow Americans who voted an orange demagogue into office.