New York

Dan Christensen

Andre Emmerich uptown

Dan Christensen, at Andre Emmerich’s uptown gallery, spreads his Rococo tints with a squeegee into slick flat swipes that run the length of the canvas but bend in their repetitive curves like the regular but wavering overlapping trails of an ice-scraper on a hockey court. These vertical paintings relate very closely to works by Olitski, but the comparison is generally on the order of a weak Soulages to a strong Kline, and given the initial delicacy of the Olitskis in question, a certain flabbiness results.

Christensen’s stroke is by nature continuous and necessitates virtuosity, since a severe discontinuity would be disruptive. The stretcher asserts itself in an ideal way, for the long, sluiced strokes involve a discrete beginning, end, and repetition or follow-through. But it is also a material limit, especially when it exposes itself under the pressure of the squeegee. (David Diao has

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