Interrogation Nation

Art that is like a detective report or a communiqué from a secret agent

Saint Paint

Joe Zucker's quick-witted just-closed exhibition of muddy-colored paintings at Paul Kasmin began with an art historical wink and a scatological nod: Just inside the door was a canvas turned toward the wall, à la Magritte, with the words "My Stool" written on it. It was a fitting acknowledgement of paint's primal connection to feces, art's paradoxical public and private nature, and Zucker's philosophically wry relationship to both. Zucker's strong two-gallery show, the second part of which is still up at David Nolan, finds this stellar topographer of paint in an indexical, introspective, typically foxy mood. At Kasmin, he exhibited a series of diptychs titled Open Storage. Each work consisted of one poured monochrome abstraction next to a painting of a piece of furniture. Zucker gave us two modes of representation, two schools of aesthetic thought, and two ways of seeing the world.

The David Nolan show feels freer and less sepulchral. We see an opalescent series of paintings and watercolors collectively titled Container Ships. Each Léger-like work looks like a scratchy grid that has organized itself into a vaguely recognizable configuration. Squint and huge ships with hundreds of gigantic rolls of paper or canvas might come into focus. It's an artist's mirage or nightmare. These boats may carry this artist's life's work into the afterlife, or they may be future floating museums of Zucker's wild work. Either way, it's gripping to see an older painter openly thinking about what he might do with all the work he's made that never sold.

HoHostage: The Bachar taes (31)
photo: David Allison
HoHostage: The Bachar taes (31)

Details

Walid Raad/the Atlas Group
The Dead Weight of a Quarrel Hangs: Documents from the Atlas Group
The Kitchen
512 West 19th Street
Through March 11

See also:
  • Saint Paint
    A Stellar topographer in an introspective, foxy mood
    by Jerry Saltz

  • A Walk-In Cartographer's Dream
    by Jerry Saltz
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    Sailing

    Applying longitudinal and latitudinal lines to the walls, Sally Smart, the Australian having her natty New York debut, turns the gallery into a walk-in cartographer's dream. We see the imagined journeys of a group of so-called "female pirate ships." These large-scale galleons are marvelous collaged visions made of canvas and clothes, among other materials, and evoke artists as wide-ranging as Kara Walker, Matthew Day Jackson, Arturo Herrera, Wangechi Mutu, William Kentridge, and Ed Ruscha. Smart may rely too heavily on projected imagery and veers a bit close to Walker and Kentridge, but she still sails into some tantalizing territory.


    jsaltz@villagevoice.com

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