print January 1980

Myron Stout’s Complexity in Simplicity

MYRON STOUT IS A PAINTER whose work is familiar to artists, yet rarely referred to in critical writings and hardly known to the public at all. This situation may partially be due to the condition of the last couple of decades, when a strong emphasis on formal innovation in the criteria for judging work steered attention away from painting, especially easel-size paintings done in oil, such as Stout’s. This, together with the tact that a single piece sometimes takes as long as ten years or more for the artist to finish, accounts for his lack of recognition and unfamiliarity. And, practically

print October 1979

Eve Sonneman’s Progressions in Time

EVE SONNEMAN’S PHOTOGRAPHS ARE NATURALISTIC, quick pictures of people, still lifes, or landscapes that the artist has come across in the “real” world. Certain aspects of her work bring to mind, most readily, that of Atget, Robert Frank and Diane Arbus. Sonneman approaches what is on the other side of the camera lens (which I will refer to as the real world, time or place unless otherwise specified) as an arena of activity in which the camera can be used, like an instrument, to isolate an event; that, in turn, allows the photograph to be a presentation of the situation or subject as though it

print December 1978

Lucio Pozzi: From the Particular to the General

In all these respects art is, and remains for us, on the side of its highest destiny a thing of the past. Herein it has further lost for us its genuine truth and life, and is transferred into our ideas more than it asserts its former necessity, or assumes its former place, in reality. What is now aroused in us by works of art is our immediate enjoyment, and together with it, our judgment; in that we subject the content and the means of representation of the work of art and the suitability or unsuitability of the two to our intellectual consideration. Therefore, the science of art is a much more

print May 1978

Thomas Bang’s Recent Work

THOMAS BANG RECENTLY EXHIBITED several floor and wall pieces which are characteristic of the two different forms his ideas have taken over the past years. The new pieces follow in a progression of work from the late ’60s and early ’70s which is obviously derived from concerns of and work by such artists as Donald Judd, Robert Morris and Carl Andre. Like the sculpture of these artists, the pieces are abstract in that they have no metaphorical allusions but refer only to themselves. And the limitations and strengths of the materials are manipulated so as to indicate their characteristics. A

Tiffany Bell