New York

Sam Reveles

CRG Gallery

Blazing through the sleepy terrain of formalist painting, the four paintings and three drawings that comprised Sam Reveles’ first New York solo show evoked the tough-but-delicate sensibilities of Jackson Pollock and Brice Marden (Reveles was once an assistant to the latter). His titles alone suggest a scrappy machismo: words like “cock,” “stallion,” “eagle,” “buck,” “Brando,” and “McQueen” crop up a lot, but rather than buttressing a pose, they signal genuine bravado. Madly slashing, mussing, and intersecting lines of paint across subtly washed grounds, Reveles lacerates the flat surface with the metal side of a brush handle to create works that suggest the savagery of the natural world.

Brando Chavez Ring, 1994, which nearly covered the expanse of one wall in the upstairs gallery, is a giant bramble the color of rust or red clay. Its thickets of paint rise from the surface and extend edge

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