New York

Katherine Porter

David McKee Gallery

Katherine Porter’s early work resembled the design esthetic of Micronesian textiles where an overall pattern in large geometrics is established by the weaver and is then interrupted by inserts of smaller versions of the larger design. The inserts in Porter’s paintings differ frequently from the textiles in their ultimate effect. They rend the flatness of her edge-to-edge painterly zig-zag system, breaking down the textilelike quality of the surface, and allow an illusion of space passing through sections of her canvases.

Imitating Agnes Martin spiritually if not actually, when Porter moved from Boston to New Mexico in 1972, she also moved away from her hot colors and zig-zags, without wholly abandoning them, and began to utilize grids and a more subdued palette while retaining her brushy application of paint. Her grids, such as the type she calls Palimpsest, are fibrous and animate as if

to keep reading

Artforum print subscribers have full access to this article. If you are a subscriber, sign in below.

Not registered for Register here.

SUBSCRIBE NOW for only $50 a year—65% off the newsstand price—and receive the print magazine plus full online access to this issue and our archive.*

Order the ONLINE EDITION for $5.99.

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