New York

Yolanda Shashaty

Sragow Gallery

There are now two main camps of art, each of which is diametrically opposed to the other’s esthetic value system. As a case in point, the recent landscape paintings of Yolanda Shashaty are in attitude as distant from the kind of cool and calculated fare coming down the appropriative pike as they could be. Their mode of address is forthright, not littered with historical non sequiturs, and their inflection is more pre-Modem than Post-Modem. Paintings such as Passage, Cathedral, and Venetian, all 1985, speak in the here and now not about the art-historical past, and Shashaty’s chosen manner of expression is emphatically visual, not conceptual. The key to one’s understanding of them is embedded in an issue that has remained one of the most critical in representational painting: the relationship of appearance and illusion.

Shashaty’s handling of this issue is self-assured. Working from her

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