new-york

Murray Reich

Max Hutchinson Gallery

A repeated emblem doesn’t have to go flat as it has for Quaytman. Variations within a familiar context can be made to matter. Rothko, end Morris Louis in his “Unfurleds” succeeded. And Murray Reich is beginning to infuse some of his huge, icon-like paintings with visual dynamism. The central, phallic form he has painted for several years is still too dominant to allow increasing activity on the sides of his canvases to participate fully, but it is beginning to.

In his show at Max Hutchinson, the central image has changed from a strip-poured reflection on blank canvas, overly reminiscent of Louis, to a column flanked by strongly colored areas that often appear to rush downward and off the lower corners of the canvas. His technique has also come a long way from its initial automatism. He still uses the same means to get a working matrix: he pours and spreads pigment on one side of the canvas,

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