PRINT January 1975

De Kooning: Criticism and Art History

ONE OF THOSE EXHIBITIONSthat originate out of town and never come to New York City is “De Kooning: Drawings/Sculptures.” Originated by the Walker Art Center in Minneapolis, the show has traveled to Ottawa, Washington D.C., and Buffalo and will close in Houston. Over and above the interest of the work in the show, the occasion has another significance: the catalogue essays by Philip Larson and Peter Schjeldahl mark a change in de Kooning criticism which may be of some consequence in the interpretation of his work with possible repercussions on his reputation as well. It represents the entry of another generation and another kind of writer into what has been the very narrow preserve of de Kooning criticism. In fact, to see the exhibition and the catalogue texts in perspective, it might be useful to consider the formation of the de Kooning canon—it is hardly less than that—and see how Larson

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