New York

Greg Card

Artist's Studio

Greg Card could be one of the better younger artists. During the last part of 1969, he completed a series of paintings called Perigee, consisting of five 5 by six foot single panels, and a diptych of two more. All are basically polyester resin, with the colorant and fiberglass reinforcing added somewhere in the seven layers; Card’s pictures, unlike Davis’s, are topographically irregular, and undulate, in parts, a few inches off the wall. In one representative panel, the image is a demirandom configuration of oranges and purples in oily linear patterns, spiked with a few solids. Its look—notwithstanding the implications of food stains on a baby’s bib—is predictably sci-fi, a frequent phenomenon in these primitive days of painting on/with plastics. But Card gives hints of avoiding the primary problem of his medium—an “automatic” chemical image which could be either simple integrity to materials or outright expedience—by staying close to painting, an essential trace of graphic imagery rejecting the easier illusions. Card’s newest work, more specific and unpretentious, is even more encouraging.

Peter Plagens