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PRINT September 2020

BLASTED ALLEGORIES

Steven Parrino, Spin-Out Vortex, 2000, enamel on canvas, 72 × 72 × 7 5/8". © The Steven Parrino Estate.

IN THE PAST YEAR, the art of the late Steven Parrino (1958–2005) has been on view in three different retrospectives. It was featured prominently in surveys of two other artists, Cady Noland at the Museum für Moderne Kunst in Frankfurt and Olivier Mosset at the Musée d’Art Moderne et Contemporain in Geneva. And for the first time in more than a decade, it was the subject of a comprehensive institutional presentation, held at Kunstmuseum Liechtenstein in Vaduz.

View of “Cady Noland,” 2018–19, Museum für Moderne Kunst, Frankfurt. Foreground: Cady Noland, Dead Space, 1989. Background, from left: Kenneth Noland, Touch, 1963; Steven Parrino, Bent Painting, 1991. Photo: Axel Schneider.

In Frankfurt, a wide selection of Parrino’s “misshaped” and “bent” monochrome paintings functioned as a bridge between Noland’s dark, exurban tableaux of American violence and her father Kenneth Noland’s geometric abstraction Touch, 1963. In one room, the saturated green and orange of the elder Noland’s chevron-shaped motif could be seen through his daughter’s forbidding metal tube fence Dead Space, 1989. Nearby was

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