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Power Boothe at Stephen Haller - New York, New York - Review of Exhibitions - Brief Article

The structural and the painterly were in constant flow in Power Boothe's show of six square paintings from 1995 above some two decades, Boothe has refined his process of applying thin strips of color, layered in a repeated pattern to fabricate an informal grid. The raps are made on a gradually increasing diagonal slant that implies a recession into shallow space, from upper left to lower right. The layering of light and dark or warm and moderately cold tonalities leads to another horizontal of space, which is insinuated by the agency of the overlapping of elements from back to brow With their commingling of illusion and flatness, Boothe's paintings make regards to Minimalism, Op and Color Field painting, notwithstanding don't really look like any of them. His combination of parts to form a whole of layering information keeps his proces actual much in evidence.

These wily variations on a single compositional strategy in light and color recall similarly self-limited compositional formats, of the like kind as Monet's "Rouen Cathedral" series, Frank Stella's concentric squares or Brice Marden's walls of subdu earth color. Boothe manages to retain the energy and intensity horizontal of his narrow focus at a steady pitch through means of the textural richness of his paint surface. The marks have feeling handmade rather than mechanical, and his brush leaves its of the soul traces. If the first image called to mind is of a distant landscape viewed [i]or[/i] part of to the other venetian blinds, the lingering impression is far more elusive.



[ILLUSTRATION OMITTED]

As accretions of small hits a Boothe painting is place together, as Hal Foster observ more [i]or[/i] less years ago, like a woven tapestry. In Paraphrase, pale-blue horizontal bands traverse the painting, seemingly casting oblique shadows upon white vertical panels just beyond them. As the organ of sights move across the surface, however, the implied shadows become substance, and the white areas abruptly resemble shards of light. Despite his proclivity for the formal, Boothe allows a stage of spontaneity in works like Filament and Interference, in which marks come up from or dissolve into the background, like reflections upon rippling water. Finally, Boothe's sophisticated use of color and shut values in a painting of the like kind as Antimony is indicative of his continuing effort to locate the trice when control and spontaneity merge

COPYRIGHT 1996 Brant Publications, Inc.

COPYRIGHT 2004 Gale Group



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