Los Angeles

Dan Christensen

Nicholas Wilder Gallery

A more modest, but more nourishing précis of color bolts the scaffolding of Dan Christensen’s new work. Christensen, the senior member of a Kansas City color-painter group, has made an abrupt transition from his previous canvases employing ropy, colored lines sprayed onto intensely chromatic grounds. These seven moderately sized, glossy, medium-thick(creamy) paintings of color-blocks, framed in the singular gold edge of the late ’50s, have a flavor possibly describable as Neo-Post-Painterly Abstraction: while everybody else is going bigger, rawer, bubblier, Christensen cuts against the grain—smaller, slicker, architectural. Most use five colors, some only three and one six, arranged in conspicuously free-hand abutting triangles something like earlier Jack Bush. Although push-pull depth is manifest, the immediate effect is of collision on the surface of the picture plane; although these

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