New York

David Chow

Amy Lipton Gallery

David Chow’s large, gestural paintings of flowers are neither spin-offs of New Image painting nor are they merely belated nods to the romantic landscape tradition. This is not to suggest that Chow’s work is wholly without precedent, but, rather, that he doesn’t seem to be stymied by looking over his shoulder at the immediate past. In fact, Chow extends both the tradition of painterly expressionism ( particularly the abstract landscapes of Joan Mitchell) and that of classical Chinese painting and calligraphy (he has been studying with a contemporary master for a number of years).

The range of painterly approaches Chow utilizes suggests that he is in no immediate danger of producing rote and mannered images. There is a freshness to the work—a sense that the artist begins each painting without knowing where he will end up. In Untitled (Cockscomb), 1990, a thick, meandering red line functions

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