london

Noel Forster

House Gallery

The Grid and The Process have preoccupied artists for a number of years now and have accounted for both good and bad works—mostly bad. Conversationally, they once sounded good—as did talk of The Edge and Tonal Spread (mix The Grid with Tonal Spread and you come up with Tonal Waffles), and elevated talk of The Process, art which “displayed the history of its making” justified almost anything laboriously executed, and probably still continues to do so. Truth to process, like truth to materials, became not only a vague edict but a moral imperative for some artists during the ’70s. It must be said, though, that a number of artists who were fired by the idea of grids and processes would probably be just as dull and uninspired whatever they did, whatever ideas they followed. Good art doesn’t need to depend on good theories; de Kooning pointed out that Cubism wasn’t such a smart idea, though it

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