reviews

John Tremblay

Richard Telles Fine Art

Critic Bob Nickas wrote recently that John Tremblay’s Open Plan Living, 1999, a spectacular, almost forty-foot-long painting, “seemed like a statement, and it’s rare to find that these days. Most artists make their statements in interviews, or when they go blab on panels or in art schools, or when they write their press releases. So it feels like an event to walk into a gallery and see that a statement is actually being made by the work itself.” Open Plan Living is indeed a defiant statement, primarily about—well, that’s the crux—painting and utopian communication.

Tremblay’s newest works, on view recently in Los Angeles, resulted from the free flow of ideas that can occur after the struggle of making a grand thing. In Brooklyn Year Zero, 2000, the artist sets up many of the issues emblematic of his project. On a dove-gray field are situated two forms: a spiraling corridor of ovals in

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