new-york

Terry Winters

Whitney Museum of American Art

Terry Winters’ recent retrospective presents an alternative to most Whitney Museum mid-career retrospectives, which tend to focus on artists with more cultural/critical urgency, as opposed to painters, such as Winters, who pursue a relatively personal and neutral expression of sensibility and technical finesse. Winters’ exhibition treats the viewer to a panoply of visual delights: thick and washy surfaces; fluid, broken, and scratchy brushwork; and a palette that leans toward moody earth tones but also includes bright primaries, sometimes within the limits of a single painting.

Winters (along with Elizabeth Murray and Carroll Dunham) was one of the few painters to gain prominence in the ’80s for whom drawing constituted a separate and important activity and not merely one reserved for notation and study. Like that of Murray and Dunham, Winters’ work is characterized by vague references to

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