PRINT December 2004

David Rimanelli


1 Howard Hodgkin (Gagosian Gallery, New York) We’re so far removed from the temper of Abstract Expressionism that the possibility of making gestural abstractions that are convincing seems unlikely, and writing about them, impossible. In any case, Hodgkin’s pictures don’t feel terribly AbEx. He says the content of Double Portrait, 2000–2003, is “the end of a friendship.” I don’t have any idea what this means, but I can’t forget the angry upset orange seeping out of the interior panel onto the surrounding, ornately carved frame.

2 “A Minimal Future? Art as Object 1958–1968” (Museum of Contemporary Art, Los Angeles) and “Beyond Geometry: Experiments in Form 1940s–70s” (Los Angeles County Museum of Art) Two brilliant LA exhibitions, demonstrating by contrast that New York’s modern/contemporary art museums continue, overall, to churn out uninspired, even lousy shows (but maybe

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