reviews

  • Therese Oulton

    Marlborough | London

    “But what could replace the object?” Nonfigurative painters continue to be plagued by Kandinsky’s anxiety about the object, as well as his worry about decorative decline. Thérèse Oulton’s recent works offer ample confirmation of the continuity of these primary concerns. Nonfigurative art is now an old tradition, and Oulton’s pictures reflect this simultaneous accumulation of years and withering of horizons. For a young painter, she seems remarkably care-laden, just as her paintings are laden with incrustations and webs that connote airless colors from the Jacobean stage or the memories locked

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  • Tim Head

    Anthony Reynolds Gallery

    Things are getting worse. If the Last Days are not actually upon us, they can at least be relied upon to arrive at any moment. The portents are everywhere. We each have our own inventory of the impending terribellum, our own sense of crisis; and even if the End isn’t Nigh, then the myth that it might be sustains us. Myths, as useful as they can be dangerous, serve as instruments of power and control by governments and lobby groups as subject matter for artists. Crisis is good copy.

    Tim Head’s paintings often look like enlargements of designs for the fashion trade. Organic motifs repeat in various

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  • Bob Law

    Karsten Scubert Ltd.

    Bob Law’s career sounds like the plot of a movie. The young artist, while living in a Cornish cottage, is befriended by Ben Nicholson, Peter Lanyon, and other members of the St. Ives set. He reads Ouspensky and Gurdjieff. He spends long afternoons drawing in the fields, exploring his relationship to nature. In 1959 he travels to London,where he sees work by Mark Rothko and Barnett Newman at the Tate Gallery’s “New American Painting” show. His intuitions are confirmed. The next year he’s in a two-person show at the Institute of Contemporary Art and is included in the seminal “Situation” exhibition.

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  • Kathryn Bigelow, Near Dark

    Various Venues

    Kathryn Bigelow, who worked in the ’70s with Art & Language and collaborated with Lawrence Weiner on films and videos, was co-author and codirector of the cult biker movie The Loveless, 1982. Bigelow has reappeared as the director of a beautifully crafted feature film, Near Dark, 1987, that explores some unsettled shadows in the American consciousness. It is an astute blend of genres: a vampire horror film that condenses the nature/culture conflict of the western with the problem of the rootless body expressed in the road movie. It is bound by an atmospheric soundtrack by Tangerine Dream.

    While

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