new-york

Brice Marden

Bykert Gallery

Over the past few years, painting has been moving away from the classicizing work of the ’60s toward a more painterly involvement with material and gesture—thick paint against stain, matte against reflective, strident against lyrical color. In comparison, much of the work of the last decade, in which concept equals or surpasses materialization, looks chaste and retiring. Brice Marden, whose paintings share the reductive literalness of Minimal work, has, however, always been interested in the palpability of surface. The sensuous quality of his work links him to current concerns, even though he has remained within a restricted area of activity: neutral objects resolved to an ultimate system of information—one, two, or three panels in predominantly grayed colors. While the colors vary in juxtaposition and intensity, the shapes and sizes are relatively constant.

The reductive attitude visible

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