zurich

Lydia Gifford, Rest, 2012, house paint, clay, gauze, wood, pigment, beeswax, chalk, 50 3/8 x 42 1/2 x 2".

Jonathan Binet, Lydia Gifford, and David Ostrowski

BolteLang

Lydia Gifford, Rest, 2012, house paint, clay, gauze, wood, pigment, beeswax, chalk, 50 3/8 x 42 1/2 x 2".

The gestural, the provisional, the elliptical, the casual, the specific, the latent; the cool, the warm; the frame, the floor, the wall: Perhaps it is right that this show of abstract paintings (or framelike, wall-supported assemblages or two-dimensional-ish sculptures in the posture of paintings) should invoke so many abstractions and oblique architectural referents. If the three young artists gathered here work in a contemporary language of painting that is familiar—its roots in post-Minimalism, its present in the long, glittery shadow of current abstract painting influenced by photographic technologies—still it remains, somehow, undefined. This, in turn, makes so much of the critical writing about it equally indeterminate, a stuttering collection of adjectives that point (poetically, ever inaccurately) to the thing they cannot, by nature, name. So, putting it another

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