new-york

Terence La Noue

Paley & Lowe Gallery

Terence La Noue, by contrast to Norfolk, reverses this duality. I have a special appreciation of Terence La Noue’s work, perhaps in excess even of its authentic worth, but I am constantly delighted by the subtlety of his position despite the many features either derived from emergent post-Minimalism or, at present, shared commonly with the countless body of young artists who have seen through the theoretical inanities of the Minimalist legacy of the ’60s. Since my earlier writing on La Noue (“New York,” Artforum, May, 1971) touched on these shared features, let me only note that the present work deals with a structural focus which has now stripped away the “leaning/hanging“ syndrome of early post-Minimalism. La Noue’s present, dare I say, latex-Kotex pictures are much higher in key and more exactly focused. A circlelike configuration is formed by weaving rubberized wire through the

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