New York

Joan Mitchell

Robert Miller Gallery

Joan Mitchell has continued to develop and to paint without relying on critical theory as a buttress for her work. Her development over the past 40 years has been marked by an increasing mastery of line, color, and placement. Mitchell’s recent exhibition included two- and three-paneled paintings, many of which are large in scale. Her inventory of gestural brushwork includes roiling strokes of lush paint, thin arid lines, juicy slaps of color, calligraphic glyphs, and knot-like lines that hover between shape and erasure. Her compositions are made up of specific strokes of color, each of which is a discrete unit. Her gestural notations function like staves: they present their own external form, while being used to enclose something. The unpainted white ground is, more than ever, an integral part of each painting.

In Margin (all works, 1989), Mitchell places vertical blue lines on the left

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