New York

John Moore

Fischbach Gallery

I suspect that John Moore thinks of himself as a straight painter, concerned with the question of representation in painting in a way that distinguishes him from the position suggested by William Bailey’s work—representational painting as a taxonomy of techniques otherwise lost to art history—or from that of an artist like Jack Beal, who has made a reputation out of attributing classical titles to scenes from middle-class life, located firmly in the sensibility of the last decade by a kind of color which can be described accurately by the term psychedelic. Moore’s still-life paintings are all well painted and pleasant to look at Tiger Lillies is a good example. Moore’s painting does not, however, seem to me to say anything original about painting in general, or even about representational painting in particular. What these paintings do seem to be about, or symptomatic of, is representational

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