New York

Mark Grotjahn

Anton Kern Gallery

Mark Grotjahn’s latest works—a series of variously sized jewel-like monochrome canvases that toy with one-point perspective—are flat-out gorgeous. This should be said right off, since discussions of Grotjahn’s work tend to leap quickly into speculation on what lurks (literally and figuratively) behind their surfaces. If there’s a plumb line running through this young artist’s oeuvre, it’s a love for and deft utilization of the opaque. But Grotjahn’s taste for the impermeable is hardly delivered straight from the shoulder; a perverse formalism is his delicious decoy, both an homage to and usurpation of (by now amply deconstructed) modernist tactics.

No surprise, then, that Grotjahn has been discussed in terms of a handful of otherwise incommensurable artists (Andy Warhol, Alfred Jensen) and styles (Cubist, Color Field). A self-proclaimed appropriationist, Grotjahn absorbs and then

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