Guy Goodwin


Guy Goodwin has been exhibiting in New York for a little more than a decade, during which time his work has undergone radical change. From the late ’70s until the early ’80s, he applied thick layers of paint to the smooth surfaces of shaped wooden forms, which were then assembled into high-relief painting-objects. Clearly, Goodwin was being literal in his conflation of paint and the construction of painting, yet he had more in common with Milton Resnick, say, than with Frank Stella. His work of this period was both blunt and inelegant. By the mid ’80s, he was dissatisfied with insisting on paint’s obdurate physicality and reevaluated his approach to abstraction. From 1985 until recently, he depicted large abstract still lifes and cityscapes. This exhibition consisted of paintings done in the past two years, and suggested that Goodwin is now not only looking at landscape, but is using it

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