new-york

Nina Yankowitz

Kornblee Gallery

For the young artist presently engaged in finding himself, several issues which emerged in the period of 1963–1967 regarding the new pictorial nature of sculpture must seem irresistible. With the advent, in 1963, of Oldenburg’s soft sculptures and Rosenquist’s slashed environmental paintings, it became apparent that sculpture could be soft, that it could be pegged upon the wall to respond to little else than the tug of gravity, and, in addition, it could incorporate the kind of soaked-in, washed-out coloration which prevailed in the period’s high abstraction. Sculpture could, in part, act like later field painting, only without the stretcher supports.

Nina Yankowitz very quickly picked up such stylistic tips, correlating their interdependencies in late 1968, although she was, at the time, scarcely into her twenties. Because of the expertness of the correlation and her green years, I impute

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