new-york

Robert Irwin

Pace Gallery

If Davis’s powers are concerted on a re-conceptualization of the pictorial as an experience of color which is both supported and wall-related, and a re-definition of the conditions under which the viewer comes to understand this relationship, Robert Irwin’s are not. Irwin, in his latest work at Pace Gallery, continues to take the picture’s relationship to the wall as one which automatically guarantees illusion. Therefore, although his work is no longer physically framed nor portable in the old sense, it settles itself comfortably within the traditional notion of the easel painting. Nowhere in the experience of the ephemera of color and shadow in Irwin’s work is one confronted with the slightest hint that the artist has anything like critical distance from the illusionistic effect he has staged.

Like the objects Irwin was making earlier in the year, these paintings consist of cast acrylic,

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