new-york

Diti Almog

Marianne Boesky Gallery

“Look at it this way,” Diti Almog’s meticulously rendered paintings seemed to want to say, the “it” in question being the painted work, adjacent downsized or oversized “copies” of that work’s component parts, and the gallery space that contains all of the above. The Israeli artist presented near-pristine white wood panels punctuated by horizontal or vertical stripes or boxes of various colors, while also re-presenting details of the same painting in scaled-up or -down versions. This act of repetition and self-appropriation blurred distinctions—between part and whole, inside and outside, original and copy—that help to define the coherence and uniqueness of works of art.

There is a Minimalist sensibility to Almog’s approach, and both her examination of whiteness and her formalist rigor recall the work of Agnes Martin, Barnett Newman, and Robert Ryman. But her project is decidedly less grandiose

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