New York

Ross Bleckner

Mary Boone Gallery | Uptown

Ross Bleckner’s six new “Meditation” paintings—one a diptych, all but one involving high-intensity black and red, often enmeshed in gray and auratically luminous, and all representing a kind of abstract naturalism (leaf gestures, sometimes lushly intermingled, abound)—bring to mind Rudolf Arnheim’s analysis of “the power of the center,” Robert Motherwell’s remarks about red, and Wassily Kandinsky’s analysis of the affective significance of color. All of these connections underscore the evocative power and structural intricacy of the work.

Simultaneously a tour de force of nuance, Bleckner’s new canvases (the ongoing series of which they are a part was begun in 2006) are a struggle to capture the vibrating sensations of nature, and an ambitious attempt to show that impulse painting can still make a spiritual point, as it did in Kandinsky’s early works. I think the dialectic works, which is

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