Izhar Patkin

Izhar Patkin's command of line and color makes his painting almost always graceful and seductive, all the more so because he applies it to his own restlessly inventive alternatives to the traditional canvas ground. Among the best-known examples are his mid-'80s works on sheets of rubber, which, hung like curtains, have a three-dimensional presence that leads naturally to his later ventures into sculpture. Even the pictures in his recent show, “Judenporzellan”—the flattest Patkin pieces I remember—involve levels and layers, with images not only stenciled on stiff metallic-surfaced paper but delineated in shaped cutouts woven into or through a different-colored sheet of ground paper underneath.

Patkin was one of the artists who in the '80s reintroduced historical and fictional subject matter to painting after it had been discouraged by the variously motivated puritanisms of the '60s and '70s,

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