New York

Sidney Goodman

Terry Dintenfass Gallery

The most difficult thing for me to get through in Sidney Goodman’s work is his virtuosity and mannerism. At moments his facility works against the otherwise remarkable intelligence of these cold representational paintings. The sources of Goodman’s works can easily be traced to Cézanne, Eakins and Maillol, but, even when we are strongly aware of the presence of the earlier masters’, their solutions are alluded to only because the staying power of the kinds of problems they present are still attractive to young painters. They are not there for any kind of “historical justification.”

In a remarkable Landscape with Towers, for example, the spatial register from bottom to top reads like Cézanne’s quarries at Bibérnus and the houses and hills of Mont Sainte-Victoire, dominated by the neutral monoliths favored in Antonioni’s shots on location. The scale discrepancies are compressed so that all is

to keep reading

Artforum print subscribers have full access to this article. Please sign in below.

Not registered for Register here.

SUBSCRIBE NOW and save up to 65% off the newsstand price for full online access to this issue and our archive.

Order the ONLINE EDITION for $5.99.

* This rate applies to U.S. domestic subscriptions.