It’s a masterful touch that is quietly impressive. With the above painting, October’s gone… Goodnight (1973), the effect is unmissable across the triplicate form of an elegant woman, standing in what could easily be an archival, columnar halter dress from Halston’s heydays. We first see the woman, with that perfect brown-bronze skin, a tight Afro, and the slightly nonchalant stare that looks out beyond the rimmed spectacles and over our heads.

And the dress – such a classic piece – is an afterthought, a prop to her moment.

Which is a bold way to render a portrait, given that the reverse is often true – we first see the garment, the guise, and the connotations that accompany one’s sartorial choices, before we begin to notice the individual dwelling somewhere beneath the layers. Hendricks’ simplicity was brilliant then, and it’s brilliant now.

See more of Hendricks’ works at the Jack Shainman Gallery.

NB Image Courtesy Jack Shainman

[Via: Au Courant]