new-york

Gordon Hart

Susan Caldwell

GORDON HART’s “new” paintings look like his last ones—colored fields with bars coming out from the sides at regular intervals. There is one with three panels where the fields and the bars are black with differences between them indicated by the contrasting dullness or shininess of the paint surface. There is a three-panel painting with blue fields and bars, all of which look identical to me. There is a two-panel painting which looks Rothkoesque—the variations are spelled out in very close-valued and intense reds and red-oranges. There is a small painting with blue, smokey pink and gray; another with gold leaf field and white bars with its “negative” in white field and gold bars. Another has three panels in matching reds, oranges and mauves. The bars in this one are not all at the same level in each panel or between them. This variation of heights and intervals gives the painting

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