Installation view, Falon Stutzman: The End of a Long Line, Megan Mulrooney, Los Angeles, 2026
Falon Stutzman’s *The End of a Long Line* casts the late eighteenth century as a fever dream of pastel silks and pageantry. Drawing on Gainsborough and rococo painting, she stages dysfunctional family scenes—brawling brothers, upended mothers, husbands choking on roast beef—where excess papers over precariousness, costuming contemporary anxieties about appearances and propriety.
