new-york

Friedel Dzubas

Andre Emmerich Gallery

The formats of Friedel Dzubas’s new paintings are long on horizon and short on height. In Fare and Forgetmenot, for example, they run 240 inches by 19 inches. The eccentric format is a false clue, a rapidly debased tip-off which confirms the accomplished felicities of Dzubas’s pictorial turns of phrase. These new paintings reveal more of the painter’s decorousness than his esthetic contentiousness. They are neither successful in terms of engulfment (though they relate to this notion) nor do they successfully strive towards pure objectivity (as exemplified by the fixated work of, say, Pat Johanson or recent Noland) though the format is an egregious appeal to be classified as part of this exploration.

The unquestionable elegance of Dzubas’s work—sustained by a color marked by Darby Bannard’s pacific Kern-tones and a collagist’s fine feel for automatically profiled elliptical rectangles—keeps

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