New York

Robert Moskowitz

French & Company

Little seems to have happened to Robert Moskowitz since an auspicious debut in 1962 at Leo Castelli. At the time Moskowitz worked in a vein ancillary to Johns. The large collages of window shades on canvas were permutants of Johns’s Tennyson. Still, a clue of the present work was alluded to, the interior. To say “interior” perhaps falsifies the sense of the paintings because it gives to them an overly specific reference in daily experience. Moskowitz’s image looks very much like a corner of an empty room into which, at the ceiling, there runs a beam, and, often as not, into which, at the floor, there runs another beam, only in the opposing direction. The pictures are illusionist abstractions. They can, for example, be reversed, or turned upside down, to produce a similar impression. I suppose, because of this, they are about the contrast and shifting from below to above. The application of paint is immaculate and cold, monochromatic, closely toned and pinched. The drawings are much smaller, tentative, personalized and perhaps excessively in the debt of Morandi’s exquisite graphics.

Robert Pincus-Witten