new-york

“Other Views”

Semaphore Gallery

The intellectual distance between the questions “what to paint” and “how to paint it” is not great, and neither is the intervening terrain of much interest, but it was precisely here—a part-conceptual, part-stylistic netherworld—that most of the younger artists in this group of heterogeneous landscape painters chose to locate their work. Predictably, the results were something other than fully engaging, although more of interest than yet another “psychotic-figure” show might have been. The lingering influence of conceptual art is a little-acknowledged, widely evidenced reality in today’s painting, both in the generation of painters who grew up during the ’70s and among those more recently emergent. By age, Michael Zwack seems to fall midway between these two camps. Represented by two pictures, both entitled History of the World, both 1983, Zwack seemed far and away the most accomplished

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