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DAILY PIC: Exactly one week after praising the inspired ugliness in Kandinsky’s first abstractions, here I am with “A Child In Winter Sings”, by the veteran American artist Jim Dine, which is one of the new paintings by him that I saw at Pace gallery in New York. Like Kandinsky, “Child” marks a turn away from representation, although here coming at the end of a career rather than the beginning. Either way, both “turns” show an artist avoiding easy compositional or chromatic or linear solutions, and aiming instead for a mess that barely holds together. It’s all part of Modernism’s brilliant failure of coherence, found in Cezanne and Picasso and Warhol and Nauman, when they are at their best, but only rarely in such artists as Matisse, Pollock, Lichtenstein and Judd. (Photo by Lucy Hogg)
For a full visual survey of past Daily Pics visit blakegopnik.com/archive. The Daily Pic can also be found at the bottom of the home page of thedailybeast.com, and on that site’s Art Beast page.

Mar 29, 2013

DAILY PIC: Exactly one week after praising the inspired ugliness in Kandinsky’s first abstractions, here I am with “A Child In Winter Sings”, by the veteran American artist Jim Dine, which is one of the new paintings by him that I saw at Pace gallery in New York. Like Kandinsky, “Child” marks a turn away from representation, although here coming at the end of a career rather than the beginning. Either way, both “turns” show an artist avoiding easy compositional or chromatic or linear solutions, and aiming instead for a mess that barely holds together. It’s all part of Modernism’s brilliant failure of coherence, found in Cezanne and Picasso and Warhol and Nauman, when they are at their best, but only rarely in such artists as Matisse, Pollock, Lichtenstein and Judd. (Photo by Lucy Hogg)

For a full visual survey of past Daily Pics visit blakegopnik.com/archive. The Daily Pic can also be found at the bottom of the home page of thedailybeast.com, and on that site’s Art Beast page.

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