When visual invention becomes an afterthought in favor of ever-more-prolix theoretical justifications, even the most lauded examples of conceptual painting can eventually outlive their novelty, becoming at best inflexible demonstrations of a theme or motif. Not so for Jonathan Lasker’s work, which is always evolving. Indeed, in the past few years, he has introduced a new element to his work: the grid. This structure is the lodestar of the avant-garde and alternately its bête noireRosalind Krauss accused it of ghettoizing modern painting. In several paintings on view in this show, a quadrille-ruled canvas allows Lasker to highlight his own comfort navigating among the poles of painting, his ability to hold in tandem its contradictory impulses. Indeed, his works have previously been described as having a kind of frozen spontaneity.
A case in point is The Plus Sign at Golgotha
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