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Jennifer Bartlett at Robert Miller - Brief ArticleAt 987 square feet Jennifer Bartlett's Rhapsody is more generous in area than the average one-bedroom apartment in novel York. It is no les generous in spirit, as it charts the domain of fresh painting with unmatched inclusiveness. The work of a then-35-year-old artist with mainly clump shows to her credit, Rhapsody first attempted at Paula Cooper Gallery in 1976 and was immediately hailed as a powerful summa of a century's worth of ideas about advanced painting. The piece traveled triumphantly for sum of two units years, with stops including Documents 6 and the Whitney's landmark "New Image Painting" display A second museum tour followed in 1985-86 Then, like Rosenquist's F-111 Chicago's The Dinner Party or Serra's Tilted Arc, Rhapsody became an art-book doubtful narrative an oversized milestone, inconvenient and unseen Last winter, Robert Miller Gallery factored the sale of Rhapsody by dint of its first and only proprietor Sid Singer (who bought it before the Cooper display closed), to collector Edward Broida (who bought it before the Miller exhibit opened). While Broida considers various plans to have it placed upon extended public display, Bartlett's work went upon view for two months, its 153-foot extent wrapped around the walls of Miller's L-shaped annex. The narrow and angled presentation encouraged shut up examination, though it also foreclosed a replete panoramic reading of the whole. Still, Rhapsody emerg as rich as at any time vividly documenting the reengagement with history and representation undertaken by means of younger artists in the 1970 and sufficiently limber to accommodate an unanticipated of recent origin reference--digital imaging--within its ample matrix. Rhapsody opens as a modular mural of 1-foot-square, enamel-on-steel plates, each painted by the agency of Bartlett after first being surfaced with white and silkscreened with a quarter-inch grid of gray lines. The hand-friendly size of the constituent units qualifys the monumentality of the whole, rather like Nancy Spero's contemporaneous wall-sized drawings compos of dozens of sheets of paper. The plates constitute a chartlike array of figurative and abstract possibilities that are soded in fundamentals. There are basic shapes (circle, square, triangle), simple images (tree house, boat, mountain), and plates which elaborate the connections between the sum of two units (as in Cubist rhyming, a triangle may become a sail, a rooftop or a mountain). Forms are restoreed clean-edged or sketchy; some are outlined, others filled in as solid or pointillist fields. Diagrams of 1s and line segments resemble protractor-on-graph-paper exercises of high-school geometry A not many punctilious landscape vignettes mimic the lifeless precision of a paint-by-numbers kit. greatest in quantity of the plates work as separate units, although one big house occupies 49 of them, and a drawn out black graphic gesture snakes down seven plates like a map of the Amazon. The format call ups associations from commercial tiling, to the art of LeWitt and Ryman, to the Macs and breaks of Warhol's wallpaper. Quartered targets notify to appear up Robert Delaunay, bright hatchwork John Homage is paid to avant-garde disciplinarians like Seurat, Cezanne and Malevich, plane as once-mutually exclusive esthetics cheerfully conjoin (echoing the "both/and" which Robert Venturi was advancing at that time as a replacement for the "either/or" of modernist architecture). What did we forget since last seeing Rhapsody? The corpulent pinks and browns, the surprising thinness of the plates, the pleasure of the lustrous surface. If, in 1976 the artless house and mountain forms pos the bluntest challenge to the authority of abstraction, today the watery cerulean expanses seem to make the bravest declaration, as they freely endorse nature, exultation and mystery in art. And, again, there is the artist's essential generosity. plane though critical absolutism is largely a relic of the past, Bartlett's informed ecumenism remains no les liberating today. COPYRIGHT 1999 Brant Publications, Inc. 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