new-york

David Storey

Hirschl & Adler Modern

Only the subtlest of changes have occurred in David Storey’s work since his previous New York solo exhibition in 1987, and these have to do primarily with chromatic pitch—Storey’s gray-blues, in particular, are getting moodier. His skittish, bebop rhythms—all wind and brass—animate this show as they did the last, and his syncopated abstracted shapes still seem to have paused for an instant on canvas, en route to the biomorph’s ball. This artist’s affection for the moment moderne has been extremely obvious for about ten years now, ever since he stopped shoveling paint around earthy imagery (during the ’70s, Bill Jensen was head gardener), and caught up with the veiled, urbane dance corps of the shifty ’80s. In contrast to many of his near-contemporaries, however, such as the slightly younger and more influential David Salle, Storey’s evident nostalgia for the mid-century rhythms of

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