New York

Larry Poons

Salander-O’Reilly Galleries

For many, the name Larry Poons will never signify anything but his classic dot paintings of the early ’60s. For a smaller, more dedicated band, Poons is equally the maker of the rather mad agglomerations of paint and heterogeneous matter that occupied him in the ’80s and ’90s when he was operating somewhere below art-world radar (and perhaps somewhat unwisely leading the informe bandwagon). Members of either group are probably surprised by Poons’s extraordinary new paintings, dominated as they are by what has always been a recessive aspect of both strains of his art, namely, draftsmanship.

Poons early on declared his ambition “to really do an overloaded painting. Not just a little overloaded, really overloaded.” He began using his canvas as a target for thrown paint, in the name of what Frank Stella, in his catalogue essay for this show, rightly calls an “aggressive and, at its best, exalted

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