New York

Edwin Ruda

When I wrote about Edwin Ruda’s work last (Artforum, January, 1970), I found I was instructed because Ruda seemed to be a representative figure of a painterly evolution out of second-generation field painting, a position which carried the transient tag “lyrical abstraction.” I am still instructed by Ruda’s painting, although this Expressionist swan song of the ’60s seems, as an issue of sensibility, going (if not gone) by the board. Ruda’s painting, like that of Larry Poons as well, suggests that it is possible to continue painting and evolve within that activity even though the mode selected may be hollow and suspect. Once, it may have been sufficient that an artist be a clear exponent of a chosen mode. Ruda has been this all along. But with the defeat of painting and the notion of personal evolution, perhaps a momentary phase, not only must the execution be right, the mode selected must

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