New York

Robert Moskoswitz

This continuum is an underlying premise in Robert Moskoswitz’ work as it is in Dekkers’, although in a different way. Moskowitz begins his paintings by drawing a perspectival space that’s then either (1) rendered vague by the use of close-valued, atmospheric color, the whole space of the painting then being reactivated by little dabs of thick paint that sit on the surface, or (2) is virtually obliterated by—predominantly—black paint, on top of which he then paints a small image. An example of the latter type is White Hat, 1973. These paintings seem to be about flatness as a property that can bury an illusion of depth, but which can retain, as they do that, an ambiguous spatiality wherein an isolated form—or, in the case of the dabs, forms—can still “float” freely. Such a spatiality is what Moskowitz unquestionably provides and, one cannot help but ask, so what? It seems such an easy enterprise.

Jeremy Gilbert-Rolfe