new-york

Alvin Loving

William Zierler Gallery

As exemplified by Kenneth No-land’s and Barnett Newman’s art, the stripe has attained a kind of privileged presence in paintings. A stripe can be handled in such a way as to convey that it could be contracted into a line (the medium of figuration), or expanded to occupy the entire picture; some of Noland’s horizontal stripe paintings seem to be made up of stripes that compete for command of the painting in just these terms. Also, no other pictorial element so readily affirms the frontality of a picture or shores up large areas of open space in a painting that might otherwise implode; one sees this shoring up process occurring in Noland’s newest paintings (and failing in some). A stripe can also be the most elegant way of acknowledging the potential for illusionism without broaching it in that a stripe can be made to affirm the picture surface as a limit from within, as it were, without

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