Jane Harrison Cone

  • Mark Feldstein

    Mark Feldstein’s one man exhibition at the Tibor de Nagy was the first he has had in New York. By any standard it was a good show but I was bothered by an aura of inconsequentiality that the paintings could not seem to overcome. The paintings propose a remote, neutral flatness which is given a precise measure of life by the white lines (actually the white of the sized canvas) which divide up the surfaces into a succession of geometric partitions. In almost all cases Feldstein uses a uniform pastel hue for the ground and the effect of the lines is that they are at once integrally a part of the

  • Alice Neel

    Alice Neel, who showed a group of portraits at the Graham Gallery, has a striking ability to get down what it is that is quick and aware and also specific in a human gaze. She concentrates on that riveting and elusive mobility which passes from the look in the eyes to the tension of cheeks and mouth, and goes after it with a style that is above all functional. That is, it has the aptness and inconsistencies of a style that closely mirrors the artist’s concentration—when the concentration falters the style itself obtrudes and seems fiddling and amateurish—Girl in a Green Dress, Anxiety and Hippie

  • Frank Stella’s New Paintings

    ONE THING IS, I THINK, true of both Stella’s newest paintings and the asymmetrically shaped canvases which he exhibited last year—that they are fallible in a way that Stella’s paintings have never been before. This is not a statement about the relative quality of the paintings—in fact, I think certain paintings from Stella’s newest series are the finest he has ever made—it is a descriptive statement about the general tenor of the paintings. Within the terms of Stella’s work, both series manifest a new kind of flexibility which somehow provides the latitude for a painting to emerge more conspicuously

  • Kenneth Noland’s New Paintings

    IN HIS LATEST PAINTINGS, Kenneth Noland is forcing an encounter with pure color to a pitch where, in my experience, one is either repelled by a given painting and blocks the experience, or else one closes with it and lets the experience take over. I am not talking here of the countless times one quashes a painful coloristic dazzle simply because it proffers nothing but its unique power of irritation—the experiencing or not experiencing of Noland’s new paintings is not of this order. It should be stressed however, that in his latest paintings, Noland is exploiting optical dazzle and illusionism

  • David Smith

    WHEN DAVID SMITH DIED, one was made to realize the extent to which a single man had carried and extended the tradition of non-monolithic sculpture that derives ultimately from Cubist collage. His career spanned over thirty years, during which time he produced well over five hundred sculptures. His work from first to last is as distinctively and recognizably his as that of, say, Giacometti. Yet, while Smith’s terms are his own and his work deeply personal, at times to the point of mute quirkiness, there is the paradoxical realization in coming to know the scope of his oeuvre, that until the late