New York

Mary Heilmann

Holly Solomon Gallery

The interest of Mary Heilmann’s paintings is in the discrepancy between their obvious structure (strictly deductive) and their subtleties of execution—how they were painted. Composed of rectangles which either frame the edges and/or divide the canvas into two rectangles, they do not claim any new structural identity. The “drawing” of the rectangles is done in one-shot Ryman-like strokes. But these strokes are bolder, more vigorous—closer to Kline than any post-Minimal painting. The image and the style of painting are simple—it is the layering of the paint, the textures along two thickly painted strokes, and the gradual fading away of the stroke at the end of the canvas when the paint runs out, which are interesting. For example, a stroke finished off at the top left hand corner of a painting looks more as if it was improperly silk-screened (like the under-inking of Warhol) than painted

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