Kiefer’s Pollockian machines - with heart-grabbing yellows, blacks, and browns that affect like tastes, sounds, and smells and their incorporation of photographs that drench the mind in tones of memory – evoke a quasi-religious feeling of delicious melancholy, slightly masochistic abasement before sheer ancientness. [“Our Kiefer,” The Hydrogen Jukebox, 1991]
In this week’s issue, he deploys it again, to marvelous effect:
Gilliam broke ranks with the movement—or extended it—in the mid-sixties, when he began draping vast unstretched paint-stained and -spattered canvases from walls and ceilings, creating undulant environments that drenched the eye in effulgent color. [“Off the Wall,” a review of Sam Gilliam’s “Existed Existing,” at Pace Gallery, New York]
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