New York

Lydia Hunn

Nexus Projects Gallery

Could there be such a thing as “New Image Sculpture”? Richard Marshall’s catalogue for the 1979 Whitney show, to rephrase it somewhat, advertised Imagist painting as representation under new management: realism pensioned off; abstraction hired as consultant. True to inflated times and a pinched economy, the new image has been cut back, pruned of all but the most essential identifying characteristics, yet it remains “emotive,” psychological and highly suggestive if sometimes mysterious. Consider, in this light, the “Flashers” of Rosemarie Castoro, the cradles and ladders of Harmony Hammond, the fleeing figure of Judy Pfaff—all schematized references to real world entities, all strongly allusive, often anthropomorphic. Or zoomorphic. If Susan Rothenberg’s horses can be New Image, why not Deborah Butterfield’s? NIP members Lois Lane’s and Denise Green’s fanned forms are emblematic, so what

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