It totally escaped me that Michael Goldberg died way back in December. Why didn't anyone tell me? He was "second generation" like Thornton Willis, which Goldberg's last works immediately called to mind. Donald Judd reviewed his work at one point calling it "derivative", but I like all the splashing about. Less efficient, I suppose, than Joan Mitchell. But through his paintings you get the since that he was a larger than life guy. Bulging musclecar paintings to be sure.
Also Catherine Murphy has a show up until August 1 at Knoedler & Co. I can't quite figure out what saves her Hyper-Reality from soullessness. But her paintings are absolved of this fate; are interesting, and require lots of attention. I think it helps that she can play the specific and vague angle like a pro. I also think that her point of view helps to dislocate the idea that there is one subject in her paintings.
Also Catherine Murphy has a show up until August 1 at Knoedler & Co. I can't quite figure out what saves her Hyper-Reality from soullessness. But her paintings are absolved of this fate; are interesting, and require lots of attention. I think it helps that she can play the specific and vague angle like a pro. I also think that her point of view helps to dislocate the idea that there is one subject in her paintings.
3 comments:
Matthew,
I must tell you that I really enjoy the blog. I would say your comments are generally insightful. And also appreciate the image postings also.
Kep it up
I completely agree with Watie's comments abiut this blog. I liked seeing that Ryder painting which at first looked unfamiliar to me but then I did find it reproduced in black and white in what I think was the first Goodrich book. You are both probably too young to remember the Brooklyn Museum show of Ryder's work (early 80's or maybe even earlier?) where they had a room of unrestorable works, several in which all of the paint had slid to a bulging blob hanging on for dear life at the bottom of the canvas.
Thanks guys!
I went back to see the Ryders just yesterday and realized that there was a "stick" right in the middle of the landscape painting that I missed the first time. It wasn't in the drawing, nor my memory.
I love how legendary his disasterous mediums are. One guy -perhaps to perpetuate the myth- told me that once he peered into the cracks of a Ryder and saw a paint flow, like lava.
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