The recent tendency in painting to churn out Modernist memorabilia, trumped-up and hailed as a return to abstraction, constitutes little more than a negligible whimper in the medium’s history. Yet it does corral and heighten fundamental ideological problems that have haunted abstract painting for the last two decades to the point that the “new” abstraction may partly exorcize the practice of its demons. Christopher Sasser has found a path into painting that is refreshingly defiant with respect to the current codes of the field. He even manages to make light of the tired dichotomy between “conceptual” painting (i.e. mediated, appropriated, gestureless, or mechanically produced) and “real” painting (painting that involves itself in, rather than recalls, the authentic poetic of art).
Sasser wallows in whatever style or methodology suits his purpose: flat field painting, biomorphic illusionism,
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