New York

Jules Olitski

Lawrence Rubin Gallery

The recent Jules Olitski exhibition at the Lawrence Rubin Gallery consisted of eloquent, fully resolved paintings, yet exactly how and why they attained their eloquence is something of a mystery. Statements about Olitski’s art tend to hinge upon drawing and color, but seldom, so far as I can recall, the interaction of the two. This problem has been complicated by the fact that the word “drawing” has taken on rather unfavorable connotations in the sixties, at least that kind of drawing which occurs within the boundaries of the picture. Yet Olitski unquestionably draws within his pictures: to be sure that drawing occurs very close to the edges and usually occurs on two adjacent sides, and when that drawing moves too far into pictures, they frequently fail. That is, they become definitely unsuccessful whenever drawing, wherever it occurs, pushes color back from the picture surface. Nevertheless,

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