New York

Arlene Slavin

Fischbach Gallery downtown

Arlene Slavin still uses a small diamond grid, formed by intersecting. diagonals, but now it merely forms an underlying structure to plot much larger shapes and areas. This broadens the scale of Slavin’s work considerably. The grid is nonetheless responsible for the general layout, resulting in a series of diamond shapes of varying sizes and proportion. Diamonds with sets of greatly unequal sides read like large rectangles in extreme and rigid perspective, floating in space, which intersect with the picture plane. This tilts pictorial space inward, creating the illusion of an aerial plan of some city, a little like the architectural renderings which Malevich derived from his more complicated Suprematist configurations. Slavin counters this inward tilt with a few horizontal and vertical divisions of the paintings which disregard the grid and with light areas of brushed color which extend

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