 |
| There are a lot of things to love about this show--the exquisite placement of works, the perfectly proportioned galleries, the knowing title taken from a review of Stephen Mueller by Carrie Moyer, the amount of talent, intelligence and thoughtfulness invested by artists and curator alike--as well as the pleasure of revisiting works seminal to artistic development in the '80s. |
 |
| Jonathan Lasker--once shockingly dissonant, now harmonious though the ideas are still present and viable. |
 |
| David Reed detail--the variety within economical means astounds. |
 |
| A very close detail of Reed's painting. Two down for a full view of this painting. |
 |
| Pat Steir's precursor to waterfalls. I love seeing the work develop over time. |
 |
| Left, Mary Heilman, right, David Reed in a gorgeous pairing. Look at Reed's white edge, acting as its own color. |
 |
| Louise Fishman--a beauty, 25 x 22. |
 |
| Detail. |
 |
| Stephen Mueller, detail. Various textures and blank canvas not unlike works made today. |
 |
| The strangest example of a Mueller I've seen--the later work more refined and coherent within its disparity. |
 |
| Thomas Nozskowski |
 |
| Gary Stephan |
 |
| Detail, Stephan |
 |
| Joan Snyder's lavish surface |
 |
| Weirdness! incised incisions. |
 |
| Textural joy |
 |
| Jack Whitten |
 |
| Stanley Whitney! An exciting surprise--the backstory to his current grids... |
 |
| To be able to see the work develop over time is one of the greatest payoffs of this show. |
 |
| Terry Winters |
 |
| I used to dream of painting paintings like these |
 |
| The hand so delicate, while slathering it on. |
 |
| Carroll Dunham, seen from now, nascent vision |
 |
| I first saw Bill Jensen's work at the Phillips Collection. Its arc is as radical and thrilling as Stanley Whitney's. |
No comments:
Post a Comment