new-york

Donna Moylan

Postmasters

For several years Donna Moylan’s work has expanded its investigations of the image in several directions at once. The eleven new paintings shown here, all from 1993, seem to focus on one of these directions in order to push it to its very limit. Moylan’s other threads—such as the painting Substance, 1989—are valuable and one hopes they reemerge some day, but at the moment it is a pleasure to watch her perfect her layering of multiple levels of imagery among which there are subtly shifting relationships. This is perhaps her central mode, one which novelist Alberto Moravia, in a rare foray into art criticism, called “neo-mysterious painting.”

Some, like Post-Atomic Painting and The Memory Palace, involve an abstract or quasi-abstract working of the ground with incidents of figuration occurring here and there in irregularly shaped areas of color applied over the ground. The effect is a

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