new-york

David Rabinowitch

Flynn

One cannot help but be awed by David Rabinowitch’s seven “Construction of Vision Drawings,” 1969–1978, when they are viewed in the context of Barbara Flynn’s high, narrow, geometrically exquisite gallery. Geometry speaks to geometry, suggesting a new peak of purity, and a fresh sophistication of the void. These drawings look as if it took a long time to ponder each of their few details, from the size of the paper to the placement of the geometrical elements. Rabinowitch’s drawings demonstrate the continued viability—the infinite renewability—of the perfectionist less-is-more esthetic: the less visible and simpler it is, the more deeply it is seen and the more profound its simplicity. Above all, the more readily the space of seeing becomes a kind of inner sanctum—a hushed monastic cell. Indeed, Rabinowitch’s drawings have an ascetic restraint that suggests a devotional intensity.

Geometry

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