Dumas and Peyton are united in their limitations as well as their strengths—and, arguably, in their capacity to ensure that their limitations are strengths. Dumas’s photo-dependency gives her imagery political edge. Denial of sensory depth almost punishes viewers for yearning for it, reminding them of the urgencies of injustice and exploitation that this art – and their consciences – should be addressing. Peyton’s style wallows in its own patheticism, as if cloying, ephemeral, illustration-technique are symptoms of self-pity. Such knowingly retarded means sit perfectly with the basically adolescent emotion she taps, which is that of star-struck infatuation.
Magdalena Abakanowicz: The Reality of Dreams at Mary and Leigh Block Museum of Art, Northwestern University
These monumental drawings consist of interwoven lines made with charcoal or gouache that tangle and bind together to form strange organic beings. Forms allude to a tree trunk, a human torso, a flower, or an insect; they explore the ambivalence between nature’s capacity to produce the mysterious pulsating of life which is simultaneously haunted by the treachery of death.
There are few abstract painters at work today who manage to push both metaphor and literalism so hard, simultaneously, as William Tillyer.
The attractiveness of the towering, tree covered mountains in Landscape after Wang Meng’s “Travelers amid Autumn Mountains” is self-evident. But if you cannot also see how this is a copy of a fourteen century imitation of Dong Yuan’s 10th century Travelers amid Autumn Mountains, then who knows what you are missing.
Much of his earlier work has been involved in reconciling his interests in Chinese traditional painting with his very contemporary reading of his own outsider status as a bilingual Latino artist in America.
The tensions between intimate and public, between information and interpretation, in Simpson’s drawings of women’s hair take on a different meaning in a second body of work in what the artist calls the “orchestrated theatrical disaster” of war.
The author finds unexpected links between Boepple and the Surrealist phase of Alberto Giacometti
In addition to his spontaneous brushstrokes, Blakelock explores a decalcomania-like technique of load, press, smear, and lift. This emphatically material-based process creates a raised, textural web of paint activity with a few scattered reds, oranges and yellows flecking a surface that is eerily similar to Jackson Pollock’s and as interesting to ponder.
Working outside the gallery system, these artists made single-evening exhibitions, often in their own studios, issuing manifestos with these events. While some artists involved with Zero, like Lucio Fontana, are well recognized in America, this is the first survey of the lesser-known group in the States.
Woman Holding Tablet (1946) pleasingly and convincingly locates a seated figure within a geometric environment, with ochre tints and warm blacks set deftly against notes of bright coral and medium blue. The rather strenuous engineering of the pose and surroundings, however, give the impression of an exercise – a demonstration of the plastic re-creation of a generic event.