New York

Jack Chevalier

Pam Adler Gallery

Much of the mainstream art of the ’60s, from the stained canvases of Morris Louis on, was flat. Those works and the critical thought surrounding them preached the pure virtues of flatness as the key to the distinctive nature of painting and sculpture. It took the pluralistic ’70s to shake out the reductive, doctrinaire, contained approach to art represented by ’60s abstraction, in particular of the minimalist persuasion; concomitantly, the ’70s paved the way for the current expansive approach to art represented on one level by the return of the relief.

Relief is to the ’80s what flatness was to the ’60s: one of the dominant esthetic qualities of the time. Here I apply the term to the broad category of three-dimensional work that projects from the wall, falling between painting and sculpture. A few seasons ago it seemed to be everywhere, and that it continues to be a major contributor to

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