Art Kleinman

Randolph Street Gallery

The traffic in irony is heavy today, and the gridlock of “simulationism” threatens to block the way of those artists pursuing strategies of abstraction that are neither ironic nor parodic. Art Kleinman’s complex and colorfully geometric works recall, to a certain degree, the technocratic surrogate abstractions of Ashley Bickerton, Jack Goldstein, or Peter Halley. Yet Kleinman’s interest in the appearance of projective and recessive space, as developed through the schematic interlocking of variously colored modules, distances him from the critique of representation that informs the works of others.

How is Kleinman’s distinction achieved? The cryptographic shapes that coalesce within his paintings and drawings share with those in Bicker-ton’s work a superficial resemblance to the characters of video games or the cybernetic devices of the 1982 film Tron. like Goldstein, Kleinman uses a broad,

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