I ponder what exactly the relationship between professional critic and working artist is. I, of course, am neither — a nosy bystander at best. I’m aware glancingly of debates in the professional art community about who says and does what. Sounding off from my provincial redoubt feels daring, if not foolhardy.
But fools venture. It’s hard not to fall, first of all, for “Candy Jail,” the title of artist Julia Rommel’s fourth show at Bureau, a New York City gallery.
Second of all, I’m seduced by art critic Roberta Smith’s statement that Rommel “continues her brand of corrupted formalism, exploring ways to revivify Minimalist abstraction with a non-Minimalist, piecemeal sense of process.”
Say what you will, that statement has loft and verve.
This one lands smoothly: “… Ms. Rommel’s color is as beautiful as ever, especially in simpler works like ‘Volvo 240,’ where two orange squares both divided by and edged in green rivet the eyes.”
(Roberta Smith, “Spring Gallery Guide: Lower East Side,” NYTimes, 4-26-19)
(c) 2019 JMN