Rosalind Krauss

  • Hans Hofmann

    Hans Hofmann is the grand master of the New York School. This is clear from the kind of interpretive writing his work elicits from the citadels of even the safest tastes: “Every scrap of Hofmann’s painting, and every premise of his theory, points toward a timeless art, transcendent and monumental.” (William Seitz, “Hans Hofmann,” Museum of Modern Art, 1963.) It is clear from the reverential tone of the crowds filing in and out of the Kootz Gallery to see his latest paintings. Most importantly it is clear from the canvases themselves. They are productions by a master, not only in the sense in

  • Larry Zox

    Larry Zox’s paintings at Kornblee Gallery seem to be an attempt to expand the flat, hard-edged, heraldic painting into a mural idiom. The works from his Scissors Jack series are made up of V-shaped wedges which fit together to affirm not so much the flatness of the canvas, but the continuity of the wall along which the paintings’ eleven-foot widths are stretched. The wedges themselves are made up of wide bands of color whose horizontal edges are discontinuous from one wedge to the next, promoting a reading of the wedges as parallel to, but at varying distances from, the wall surface. Zox means

  • Anthony Caro, Dan Flavin, and Larry Poons

    Sculpture LXIV from Anthony Caro’s recent New York exhibition is parented by almost three years of work with small base-related sculptures. Caro’s decision to work with a base may seem surprising in the light of his very early commitment to placing sculpture directly on the ground, thereby refusing to it the guarantee of a status in space separate or apart from the viewer’s own. In re-opening the issue of the base, Caro seems to intend a re-examination of the essence of the uniquely sculptural object. For, one of the important preludes to the Minimalist conception of sculpture was the kind of

  • Bridget Riley

    As early as the 1920s, in the workshops of the Bauhaus, students and masters experimented with the dual potential of black-white design elements. These, they found, would affirm and hold the flatness of the ground that supported them, since that very ground would be incorporated into the surface pattern of the work; in addition a richly shifting spatiality developed in which, as an example, Bauhaus white letters would jump off the page in strong relief against their black-cast shadows, but could alternately be read as concave forms etched into the fictive depth of the paper. All this was