Rosalind Krauss

  • Allusion and Illusion in Donald Judd

    FOR SOME TIME DONALD JUDD has been a major spokesman for works of art which seek, as their highest attainment, total identity as objects. Last year in praise of a fellow-sculptor’s work, Judd wrote: “Rather than inducing idealization and generalization and being allusive, it excludes. The work asserts its own existence, form and power. It becomes an object in its own right.” Thus object-art would seem to proscribe both allusion and illusion: any reference to experiences or ideas beyond the work’s brute physical presence is excluded, as is my manipulation (through the prescribed observation of

  • Darby Bannard’s New Work

    THAT THE PAINTERLY ATTACK OF abstract expressionism rapidly became, in the hands of its followers, a mannered and ironically inert gestural vocabulary, is a truism of the criticism of the last decade. What should be just as obvious is that the same painterly touch allowed of a solution to pictorial structure that has become the formula that still underlies much of contemporary painting. By now it is apparent that the “all-over” picture, from which Pollock and de Kooning gained the needed latitude to expand their own sensibilities beyond the academy of late Cubism, has itself become a new

  • 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