Robert Duran

Rykert Gallery

These lines form a postscript to my more extensive remarks concerning Robert Duran’s work, made earlier this year, (Artforum, March, 1971.)

The problem which Duran continues to attack in his paintings (or is plagued by) is one of figure and ground. Since the application of thin color in near-arbitrary displacement tended to render the figure-ground relationship ambiguous, Duran has emphasized several pictorial devices of great subtlety to confirm frontality and planarity. Allowing the initial level of color to dry he isolates quasi-floral configurations in the center of the canvas, identifying in this way the central splotches as shape, thereby centristically anchoring the surface. Superficially the new works bear a resemblance to Warhol’s flower prints, but as I suggested previously, Duran is prompted by an awareness of primitive sources expressed as decoration. This relationship continues

to keep reading

Artforum print subscribers have full access to this article. If you are a subscriber, sign in below.

Not registered for Register here.

SUBSCRIBE NOW for only $50 a year—65% off the newsstand price—and get the print magazine plus full online access to this issue and our archive.*

Order the ONLINE EDITION for $5.99.

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