Time is itself a recycling process for Cole, whose freewheeling spirit transcends linearity in his excavations of art and music history.
I cannot think of another artist devoted to nature who chooses such unlikely, decidedly plain, almost unsightly views, but never makes that act the point of the painting.
It didn’t. I lied. I’m sorry. But I did like these things at the Art Dealers Association of America’s (ADAA) art fair.
Silenced, erased, censored — how then to represent this loss, this nothingness?
Finding beauty in the commonplace — some may even say banal — is one of artist Willie Cole’s strengths.
The current exhibition of paintings, watercolors, and prints by Sylvia Plimack Mangold at Alexander and Bonin (March 16–April 28, 2012) got me thinking once again about the different kinds of spaces she has constructed in her work, beginning with the tilting planes in her early paintings, such as “Floor 1” (1967), “Floor with Light at Noon” (1972), and “Two Exact Rules on a Dark and Light Floor” (1975), all done in acrylic on canvas.