new-york

Bob Duran

Bykert Gallery

Recently, I attempted to create a rationale for the seeming happenstance placements of Richard Van Buren’s eccentrically shaped plastic. reliefs in terms of similar shapes found at the same time in Bob Duran’s painting of 1968–1969. The beauty of Duran’s present exhibition makes it clear that we must now clarify his development in terms of his own painting. The first mature works of which one became aware dealt with a means of structuring a surface attracted to erratic shapes, but which at the same time sought artistic confirmation in the retention of certain serial or Minimalist ploys. Duran’s painting of 1968 attempted to reinforce a grid organization through the location of thinly painted shapes at the edges of unpainted canvas squares. This established the illusion of the plane while permitting a comparatively free small-shape distribution to evenly spread itself all over the large

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