new-york

Nina Yankowitz

Kornblee Gallery

Clearly, Nina Yankowitz shares the acute sensibilities of the younger generation of New York artists—one is tempted to say, of the generation of the School of Visual Arts’ artists—a sensibility which, in a short time, three years at most, has been subject to, in Yankowitz’ case, the purification of the devices she came upon and claimed for her own while still a student there. These devices—non-stretcher supported canvas, peculiar methods of joining, sprayed color, and Expressionist maculation—if not entirely immediate to the corridors and studios of SVA were also the issues being argued in the galleries from 1968 on, issues which continue in her work although, to the vast improvement of that work, she has relinquished the extraneous notes of an abstract illusionism.

Granting art today as possibly being the objectification of a pictorial/sculptural sensibility, a concession I only begrudgingly

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