At first it appears as though one of Richter's by now "classic" gestural abstractions
was merely subjected to a deceivingly simple series of mathematical partitions and multiplications, a progression not uncommon to painterly and sculptural operations since Judd's and LeWitt's Minimalism.
Other contributors, including David Josellt and Graham Bader, plumb the way gestural abstraction
and spontaneous mark-making are always already tied to systems of communication and exchange.
In this laconic and industrially streamlined work, in other words, Lichtenstein has managed not just to compress references to his own painting and that of contemporary gestural abstraction
, but to visualize the competing critical positions--of painting both domesticated and virile, mechanically regimented and unconsciously automatic, industrially flattened and oceanically deep--through which the medium was understood at the time.
Indeed, a polemical opposition between Cage and gestural abstraction was postulated in art criticism only from the mid-'60s onward.
These reinterpretations of gestural abstraction ran parallel to Cage's conception of indeterminacy.
Even a few of the more predictable aspects of his artmaking--that the largest canvases have the largest brushstrokes, for example, and that Whitney somewhat slavishly respects the canvases' edges, reinforcing their vertical or horizontal articulation, as if he is painting on pre-stretched canvas--seem part of his endeavor to practice gestural abstraction
while turning away from the solipsistic drama that, throughout its history, has defined it.
IN AN ESPECIALLY COMPELLING SIGHT LINE offered by "Rosemarie Trockel: A Cosmos," one can simultaneously take in a humongous preserved lobster, a sleek, jet-engine-like aluminum sculpture by the somewhat-forgotten Parisian artist Ruth Francken, and three modest gestural abstractions
painted by an orangutan named Tilda.
Offering generic gestural abstractions
that read like attempts to (paradoxically) replicate the idea of "authentic" painting, this LA show also included treadmills, four brand-new machines axially aliened with the art as though facing flat-screen TVs at a fitness center.
In contrast, Ferrari made ink drawings that linked compositional elements together with lines, organizing elegant gestural abstractions
into textlike syntax, as in the series "Cartas a un general" (Letters to a General), 1963- Expressionism and writing are here mapped onto each other so that the former is rendered regular and the latter illegible.
She then painted large gestural abstractions
in which she could work through her memories of and relationships with each couple.