New York

Garry Rich, Charles Schucker

Max Hutchinson Gallery

One cannot exclude a certain bending over backward, not in the painting perhaps, but in the reviewing of current Abstract Expressionist painting generally, and of Garry Rich’s work in particular. Although still in his thirties, Rich joined that body of painters who rendered the Expressionist biases of color painting in the ’60s more explicit. Their lot, it appears, has been a mean one—but there has been a certain tendency if not to think well of such work, then at least not to speak ill of it. 

Rich is but one of many who persist in Expressionist painting. Aware that the primary feature of Expressionism is the rejection of system, Rich is at pains to hide and disfigure an explicit analytical means—here the use of a cursorily executed lozenge network across the surface—nonetheless duplicitously exploited in order to render diffident downbeat color abstractions more con temporary in their

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