PRINT Summer 1968

Greg Card and Mary Corse

THE RECENT PAINTINGS OF Greg Card are so slight in appearance, a bare transparency of tone, that one could hardly imagine a more simply poetic yet drastically reduced set of conditions. This slightness, the apparent lack of concern with viewer involvement, is of course entirely deceptive for he is dealing with sensation close to a low threshold of stimulation. The paintings are columns of clear cylindrical acrylic plastic capped at the top and bottom, coated with even sprayed layers of transparent lacquer. They are suspended a foot away from the wall by a length of invisible nylon thread, and usually directly emphasized by an overhead spot light aimed at the top of the form. There are quite enough visual events and issues involved here to merit a discussion.

The paintings, though dimensional, are related to a logically worked out search (with acknowledged debt to fellow artist Ron Cooper)

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