New York

Jan Dibbets

Leo Castelli Gallery downtown

In his recent show of photographic grids of sections of forest and field, Jan Dibbets is working within a more painterly tradition than is generally evidenced in his work. Although they are not the only possible antecedents, a comparison with two earlier field painters, Monet and Pollock, is germane to discussion of Dibbets’ current work.

There are many one-to-one parallels between Dibbets’ photographs and Monet’s late water-lily paintings. In each, the artist begins with a fixed view of a horizontal surface seen from the roughly 45° angle of vision of a standing person. The horizontal plane is then suspended vertically on a wall, causing the original surface to lose its depth and become essentially two-dimensional. Both Monet and Dibbets are producing decorative works in which the emotional and visual content is lessened by the suppression of visual incident into a continuous frieze or

to keep reading

Artforum print subscribers have full access to this article. Please sign in below.

Not registered for Register here.

SUBSCRIBE NOW and save up to 65% off the newsstand price for full online access to this issue and our archive.

Order the ONLINE EDITION for $5.99.

* This rate applies to U.S. domestic subscriptions.