New York

View of “Larry Poons,” 2019. From left: For “Glenda”, 2019; Things Minus People (Kubrick), 2018.

View of “Larry Poons,” 2019. From left: For “Glenda”, 2019; Things Minus People (Kubrick), 2018.

Larry Poons

Yares Art | New York

Two very different sides of Larry Poons appear in his most recent exhibition. On the one hand are a dozen paintings—made between 2014 and 2019 and built out of masses of small, flickering gestures—that in their meditative lyricism hearken back to Impressionist landscapes. On the other are thirteen canvases, or “Particle Paintings,” dating from 1996 to 2002, that Poons made using a technique that involved laying down mostly linear relief elements onto the work’s surface before applying paint. Via this approach, “drawing” became a material fact, to which Poons could react with color, presumably in a spontaneous and improvisational manner, as implied by the exhibition’s title, borrowed from Allen Ginsberg: “First Thought, Best Thought.”

Despite the dramatic shifts in Poons’s methods, from his grid-based, hard-edge dot and lozenge paintings of the 1960s (still what he’s best known for), through

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