New York

Darryl Hughto

Tibor De Nagy Gallery

There are, I think, two very different kinds of modernist painting. Critical exuberance (or blindness) has kept them together for years, so that we feel a kinship between them where none exists. One kind is rationally structured, with brilliant and arbitrary color—the taut, severe works of Newman, and early Stella and Noland. The second group is recognizably slick and ingratiating. Hilton Kramer has succinctly called it the marriage of anarchy and decoration (in the pejorative sense of the word) in the works of Pollock. And Pollock and Olitski are the celebrated masters here. Their work, giving the least possible visual resistance, has spawned the large group of lyrical abstractionists: Bush, Christensen, Dzubas, to Wofford and Zox. Now, to this group, add Darryl Hughto.

It is impossible to overlook the fact that the hard-core Greenberg devotees have been these artists’ most enthusiastic

Sign-in to keep reading

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

Not registered for artforum.com? 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 PRINT EDITION of the May 1977 issue for $17 or the ONLINE EDITION for $5.99.

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