Art Lies, Volume 23, Summer 1999 Page: 44
60 p. : ill. (some col.) ; 28 cm.View a full description of this periodical.
Extracted Text
The following text was automatically extracted from the image on this page using optical character recognition software:
post-hypnotic
THE MCKINNEY AVENUE CONTEMPORARY
DALLAS
by Janet Stiles TysonAt first blush, post-hypnotic, curated by Barry
Blinderman of Illinois State University,
appeared to be another of the many exhibi-
tions of abstract paintings presented in Texas
during the past few years. But a closer look at
several of the works on view revealed abstrac-
tion taken to another level of potential for
experience-one that requires no particular
knowledge of the recent history of abstraction
or of painting, no special insights into more
traditional formalist theory.
All anyone needed to do to understand
and enjoy the work was look at it. Their fren-
zied optic nerves did all the rest. That's
because post-hypnotic, presented in Dallas at
the McKinney Avenue Contemporary, was an
examination of the rehabilitation of Op art.
A flash in the pan during the 60's, Op
was quickly co-opted by commercial interests
and dumped by the serious art crowd, which
perceived its retinal trickery as vulgar, too
easy and perhaps too much fun. But, come
the late 1980's-90's, artists who enjoyed
painting turned to Op: it was, after all, the
pariah movement of a pariah ideology
(Modernism). How richly ironical, and there-
fore permissible, it would be to appropriate
Op as a form of Postmodern critique.
But it hasn't taken long, really, for
another party of artists to decide that irony
has become tiresome and academicized.
Might it not be fruitful, they ask, to pursue
painting with all due sincerity? Furthermore,
might Op not offer some further possibilities?
post-hypnotic didn't include any exam-
ples of classic Op. Nor did the Dallas installa-
tion feature ironically Op-allusive paintings
by Ross Bleckner or Philip Taaffe. It did boast
an outstanding, relatively early Peter Halley in
two marvelously clashing hues. It also
presented abstract works by Jim Iserman,
Walter Robinson and Peter Schuyff that
perhaps had some relationship to Op, but
granting even that much took a real stretch.
Nor were many of the most recent
works, colorful abstractions by David
Clarkson, Tom Moody, Aaron Parazette, what
you'd call relevant.
That said, paintings by Michelle Grabner,
44 ARTLIES SUMMER 1999Susie Rosmarin, Judy Ledgerwood (in a
painterly and subtle take on op), Michael
Scott and Tom Martinelli, as well as a
computer-generated image by Dave
Szafranski, not only provoked dazzling optical
sensations, but represented thoughtfully
conceived bodies of work. So much so, that
post-hypnotic would have been stronger if
more of their pictures had been presented in
lieu of those by Clarkson et al.
The power of Rosmarin's piece was rein-
forced by a concurrent presentation of her
work at Angstrom Gallery in Dallas. But,
regardless of that happy opportunity to put it
in context, Static, her large-scale work at the
MAC, stood on its own as a compelling and
beautiful painting on several levels. In terms of
what really was there, the actual grid of
minute gray, white and black checks of oil
paint on canvas, Static suggested all kinds of
artistic and cultural references. But the optical
illusions that were produced by this grid were
positively lush, alternately dazzling and
quietly mesmerizing. OJim Isermann
Untitled, 1987
Enamel on wood
Photo: Courtesy of The MAC
Upcoming Pages
Here’s what’s next.
Search Inside
This issue can be searched. Note: Results may vary based on the legibility of text within the document.
Tools / Downloads
Get a copy of this page or view the extracted text.
Citing and Sharing
Basic information for referencing this web page. We also provide extended guidance on usage rights, references, copying or embedding.
Reference the current page of this Periodical.
Lightman, Victoria H. Art Lies, Volume 23, Summer 1999, periodical, 1999; Houston, Texas. (https://texashistory.unt.edu/ark:/67531/metapth228053/m1/46/?q=%22Bryant%2C+John%22: accessed May 25, 2024), University of North Texas Libraries, The Portal to Texas History, https://texashistory.unt.edu; .