New York

Mark Dagley

Earl McGrath Gallery

Mark Dagley has long explored the language of painting by playing with both surfaces and supports. He has made torqued monochromes, eccentric shaped canvases, paintings with blocks cut out of them, and wall sculptures of exposed stretcher bars, all with a characteristically wry sensibility. His most recent series of paintings represents something of a departure. Though he continues to raise questions about painting, he now does so without breaking it down into its constituent parts.

Combining the flat colors and taped-canvas edges of the Washington Color School (Gene Davis, Kenneth Noland, and Morris Louis, among others) with designs reminiscent of ’60s and ’70s supergraphics, the new paintings are so familiar they almost seem like old news. Dagley makes no attempt to bowl the viewer over with either scale or craftsmanship; never larger than life-size, the canvases are covered in only a

to keep reading

Artforum print subscribers have full access to this article. Please sign in below.

Not registered for Register here.

SUBSCRIBE NOW and save up to 65% off the newsstand price for full online access to this issue and our archive.

Order the ONLINE EDITION for $5.99.

* This rate applies to U.S. domestic subscriptions.