new-york

David Novros

Sperone Westwater Fischer Gallery

David Novros’ monochrome canvases of 10 years ago offered rather idiosyncratic variants on the literalness, coolness and seriality of Minimalism. Their L-shapes were played off against the shapes of the walls where they were hung. Novros’ next move was to bring internal shapes into play; some of these were painted, some were created by the abutment of canvas panels. These shapes were geometric with a strong architectural flavor. The painting, whether rectangular or not, mediated actual and imaginary architecture. The architectonics of post-Cubist geometrical painting were recalled. As a minimalist, Novros dutifully avoided traditional composition—which, despite a great deal of argument to the contrary, has continued to provide an important formal basis for most modernist painting and sculpture. When he turned away from monochrome and allowed spatial effects to appear full-force, he showed

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