Of Gray's paintings, New York Times critic Ken Johnson wrote that «his stroke is relaxed, but exacting» and described Gray's concerns and «all - over abstractions as a kind of primordial, peaceable kingdom, as far from the frenetic hard - edged modernity of New York City as one could ge
Of Gray's paintings, New York Times critic Ken Johnson wrote that «his stroke is relaxed, but exacting» and described Gray's concerns and «all - over
abstractions as a
kind of primordial, peaceable kingdom, as far from the frenetic hard - edged modernity of New York City as one could ge
of primordial, peaceable kingdom, as far from the frenetic hard - edged modernity
of New York City as one could ge
of New York City as one could
get.
The next time I stood in the same museum having a crucial experience with reductive
abstraction, I was looking at Ellsworth Kelly's famous five color spectrum piece in the 1996 show called, «Abstraction in the Twentieth Century: Total Risk, Freedom, Discipline,» and all of a sudden I was totally getting it, realizing for the first time how to internalize this kind of reductive painting as a sophisticated, witty
abstraction, I was looking at Ellsworth Kelly's famous five color spectrum piece in the 1996 show called, «
Abstraction in the Twentieth Century: Total Risk, Freedom, Discipline,» and all of a sudden I was totally getting it, realizing for the first time how to internalize this kind of reductive painting as a sophisticated, witty
Abstraction in the Twentieth Century: Total Risk, Freedom, Discipline,» and all
of a sudden I was totally
getting it, realizing for the first time how to internalize this
kind of reductive painting as a sophisticated, witty statement.