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

Sign-in to keep reading

Artforum print subscribers have full access to this article. If you are a subscriber, sign in below.

Not registered for artforum.com? Register here.

SUBSCRIBE NOW for only $50 a year—65% off the newsstand price—and get the print magazine plus full online access to this issue and our archive.*

Order the ONLINE EDITION for $5.99.

* This rate applies to U.S. domestic subscriptions.