new-york

Michael Steiner

Candace Dwan Gallery

Faced with Michael Steiner’s radical rejection of his affinities to Don Judd or to others of that reductive persuasion, one senses this young sculptor’s ambition to create an art imbued with the complexity and toughness of say, a David Smith—yet without the latter’s imaginative ability or formal inventiveness to back up such an aspiration. Steiner has now given up fabrication processes in order to work more closely with his own materials (polyester resin which he casts over wood and paints bright pastel shades and primary hues). If there has been a logic to Steiner’s short development—from the shaped canvases and monochrome painted wood structures of 1962–3, to the more stringent mode of his stainless steel or aluminum fabricated “primary structures” in 1965–6, to the new polychromed additive volumes—one notes that it has unfortunately been a logic of a priori positions adapted to meet

Sign-in to keep reading

Artforum print subscribers have full access to this article. If you are a subscriber, sign in below.

Not registered for artforum.com? Register here.

SUBSCRIBE NOW for only $50 a year—65% off the newsstand price—and get the print magazine plus full online access to this issue and our archive.*

Order the ONLINE EDITION for $5.99.

* This rate applies to U.S. domestic subscriptions.