new-york

Nicholas Krushenick, Son of King Kong, 1966, acrylic on canvas, 84 x 72".

Nicholas Krushenick

Gary Snyder Gallery

Nicholas Krushenick, Son of King Kong, 1966, acrylic on canvas, 84 x 72".

How to explain the fact that Nicholas Krushenick’s art has flown below the radar for so long, despite recurrent attempts to revive interest his work, and despite the fact that it not only is in itself excellent but self-evidently fills a niche that needs to be filled—namely that of the missing link between hard-edge abstraction and Pop art? Alas, he is that cursed thing, an artist’s artist. I was reminded of this again last year when I saw a piece of his in “The Jewel Thief” (2010), a remarkable exhibition curated by Jessica Stockholder (with Ian Berry) at the Frances Young Tang Teaching Museum and Art Gallery at Skidmore College in Saratoga Springs, NY—what a surprise to see Krushenick’s work there, and then a moment later it wasn’t surprising: Of course an eye as sharp and unconventional as Stockholder’s would “get” him. So do artists such as Tom Burckhardt, Kathy

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