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PRINT Summer 1979

Michael Goldberg’s New Paintings

ALL BUT ONE OF THE new paintings exhibited by Michael Goldberg recently have titles that refer to works of Florentine Renaissance architecture, primarily buildings by Alberti. Whatever their importance in the making of these paintings, the references function clearly as allusions, turning back—from a transplanted context—to images of structure that were important to Western art at a moment when painting and architecture were closely related. For this reason, it cannot be said that these paintings are about an architectural image manipulated within the confines of two-dimensionality, any more than that they are about the abstract evocation of landscape with which many viewers will automatically associate them. These unavoidable allusions, rather, are there, forming a connotative field of associations which bestows upon the work a symbolic aura. But they are also held in abeyance, thrown

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