Comments on: Reinventing Abstraction: New York Painting in the ‘80’s http://abstractcritical.com/article/reinventing-abstraction-new-york-painting-in-the-80s/ Abstract Critical is a not-for profit company aiming to establish a new critical context for all generations of artists involved with ambitious abstract art. Sun, 09 Nov 2014 17:23:33 +0000 hourly 1 http://wordpress.org/?v=3.9.2 By: Robin Greenwood http://abstractcritical.com/article/reinventing-abstraction-new-york-painting-in-the-80s/#comment-194256 Sat, 13 Jul 2013 08:39:09 +0000 http://abstractcritical.com/?post_type=article&p=7153#comment-194256 Good idea! I’ll try that.

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By: Sam http://abstractcritical.com/article/reinventing-abstraction-new-york-painting-in-the-80s/#comment-194244 Sat, 13 Jul 2013 08:08:11 +0000 http://abstractcritical.com/?post_type=article&p=7153#comment-194244 But it could apply to almost everything on Abstract Critical. It is just a very uninsightful and unhelpful thing to say. Should you just start copying and pasting ‘NOT CEZANNE!’ at the foot of everything we post?

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By: Robin Greenwood http://abstractcritical.com/article/reinventing-abstraction-new-york-painting-in-the-80s/#comment-193222 Thu, 11 Jul 2013 01:51:06 +0000 http://abstractcritical.com/?post_type=article&p=7153#comment-193222 Can’t think (and I’ve tried) of a better basis for dismissing things… or of anything more pressingly relevant.

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By: Paul Corio http://abstractcritical.com/article/reinventing-abstraction-new-york-painting-in-the-80s/#comment-193125 Wed, 10 Jul 2013 22:05:45 +0000 http://abstractcritical.com/?post_type=article&p=7153#comment-193125 Several of my old profs from Hunter were eye-witnesses to Greenberg-era NYC, and I think that his role as a taste-maker, king-maker, and career starter and ender can’t be overstated. He had the ear of the big galleries, the big journals, the collectors, and the museums. Many in New York say that Post -Modernism is essentially a response to him and not the art (Roz Krauss started as a disciple!). The convulsive reaction to him in the ’60′s was in direct proportion to his outsize influence.

Robin – many people whose opinion I respect seem to share your estimation of David Reed, but I’m sticking with my story. I’ve always loved the paintings, and I think that history’s going to recognize him as a big dog.

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By: Craig S. Kaufman http://abstractcritical.com/article/reinventing-abstraction-new-york-painting-in-the-80s/#comment-192900 Wed, 10 Jul 2013 13:02:39 +0000 http://abstractcritical.com/?post_type=article&p=7153#comment-192900 It is often refreshing to look back on art which has frequently been used as a stepping off point for recent abstraction.

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By: Sam http://abstractcritical.com/article/reinventing-abstraction-new-york-painting-in-the-80s/#comment-192793 Wed, 10 Jul 2013 09:05:48 +0000 http://abstractcritical.com/?post_type=article&p=7153#comment-192793 Really I was just defending some jpegs against someone else who has also only seen some jpegs. As far as this is possible I did in fact pick out three ‘individual pictures’ that I liked – though I realise the assumption I was only judging the exhibition is a favoured mode of attack of yours at the moment.

Am I saying that these are as good as Cezanne? Well of course I am not. But I’m not sure than dismissing things on that basis is particularly productive, or in this case really at all relevant.

With that in mind I like the strength of the Murray as an image, the way it brings together those three quite odd shapes into a whole; I like the flipped symmetrical element in the Lasker; the Whitney I can’t see properly at all, but I like the way the slap-dash handling appears to build into a quite large, light space.

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By: Robin Greenwood http://abstractcritical.com/article/reinventing-abstraction-new-york-painting-in-the-80s/#comment-192773 Wed, 10 Jul 2013 08:24:32 +0000 http://abstractcritical.com/?post_type=article&p=7153#comment-192773 Obviously. In thinking not very much, I’d forgotten ‘weirdness’ is what it’s all about.

Even were I to agree that weirdness is exciting, I think you are in the territory of judging exhibitions, not individual works. It’s weird how, on a painting by painting basis, weirdness looks so familiar and… boring.

David Reed (‘a giant’ – ha!) is a case upon which I rest. His website is a ‘non plus ultra’ in unmitigated formulaic superficiality and boredom.

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By: Sam http://abstractcritical.com/article/reinventing-abstraction-new-york-painting-in-the-80s/#comment-192725 Wed, 10 Jul 2013 05:47:01 +0000 http://abstractcritical.com/?post_type=article&p=7153#comment-192725 Obviously the first half of this was addressed to Robin…

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By: Sam http://abstractcritical.com/article/reinventing-abstraction-new-york-painting-in-the-80s/#comment-192724 Wed, 10 Jul 2013 05:46:23 +0000 http://abstractcritical.com/?post_type=article&p=7153#comment-192724 Made you think, but perhaps not very much! Well at least enough for a (trademark) dismissal. I reckon I’ve seen as much of this show as you have. Perhaps even more – the pics on the gallery website. To me – at this distance – it looks flawed but kind of exciting in its weirdness – the sort of stuff that is resistant to theory. I wouldn’t say it all looks great, but it has enough liveliness – particularly the Whitney, the Lasker and the Murray.

I disagree with Paul that these paintings completely move away from Modernism, though they might deviate from a particular codification of it. Modernism was a lot weirder and more complex than this sort of dismissial gives it credit for. Along the same lines I think we have to keep on remembering that Greenberg was only a critic, and that if you actually look at the paintings of the 40s to the 60s it was diverse and often contradictory…

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By: Robin Greenwood http://abstractcritical.com/article/reinventing-abstraction-new-york-painting-in-the-80s/#comment-192516 Tue, 09 Jul 2013 20:58:36 +0000 http://abstractcritical.com/?post_type=article&p=7153#comment-192516 “After Cezanne and Before Greenberg” made me think…! And actually only, what, 40 odd years! Seems a millenium.

We’ve done so much and come so far and achieved so little. Cezanne would knock any of this lot into chicken-shit. By the time you get here, the eighties, there is not even an echo of a shadow of any of his achievements. There’s progress for you.

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