Word: marden
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...Bartlett is almost the quintessential example of the New York 1970s artist who made it successfully into the much more worldly atmosphere of the 1980s. She is (rightly) seen as both serious and popular, no easy feat. That a colleague of such fiercely reductive artists as Brice Marden, Barry Le Va and Richard Serra, formed in the hot arguments and unheated lofts of a pre-yuppie SoHo, would emerge by the mid-'80s as a corporate muralist, decorating the Volvo headquarters in Goteborg, Sweden, and the dining room of the AT&T Building in Manhattan with her fluent, electric...
...Horace Marden Albright was only 26 during that August in 1916 when the National Park Service was created. A wily Californian, bursting with energy, he was possessed by a vision of how to preserve the nation's grandeur...
...only thing Marden's paintings have in common with Jenney's, apart from their intelligence, is the way their surfaces invite meditation. Marden is wholly an abstract painter, and the effect of his work hinges on the proportional intensities of blocks of color. He is a minimalist, but without the fierce abolitionism the word suggests...
...scheme of his recent work sounds simple: arrays of long, narrow panels, as in Green (Earth), 1983-84, locked together in silent T formations with infills. They suggest the absolute forms of classic architecture -- columns and lintels bathed in Aegean light. The extreme subtlety of Marden's color speaks of nature. It is mixed and layered, skin upon slow skin of pigment and oil, bearing a history of growth, submergence and mellowing, containing light the way a sheet of marble stores the heat of afternoon. Paintings like this are ideal landscapes, and their august stasis recalls Byron's line: "When...
...Marden's work reminds one how silly was the death-of-abstract-art talk heard so much at the start of the '80s, as foolish as the death-of-painting cant in the '70s. Much of the work of younger American artists remains abstract, whether "decorative" (Alan Shields, Valerie Jaudon or the exuberant Judy Pfaff, whose manic, space-consuming constructions are hybrids of painting and sculpture) or more ostensibly rigorous in its aims, like that of Gary Stephan, 42. His paintings are like massive and vivid reflections on late cubism, especially the utopian "cubifying" abstraction of the 1920s, as practiced...