In the June 22, 2015 issue of The New Yorker magazine there is an article critiquing the art of the German painter Albert Oehlen (twenty-seven of his works are now on view at the New Museum in New York City). Peter Schjeldahl calls Oehlen "the foremost painter of the era that has seen painting decline as the chief medium of new art."
Schjeldahl writes, "If Oehlen has a method, it is to recoil, stroke by stroke, from conventional elegance—strangling one aborning stylistic grace after another. He has said that he was fascinated, early in his career, by American Action painting of the nineteen-fifties—a histrionic mode of pictorial rhetoric, specifically imitative of de Kooning, whom Oehlen cites as a hero. (The term was misapplied to Jackson Pollack's drip painting, which exult a canny control.) Oehlen's variant—call it reaction painting—fights back toward the Master's rigorous originality. (Oehlen's one prominently lacking resource is de Kooning's forte of drawing)."
Long-time readers of this blog know that I admire Willem de Kooning's work, but find most of Pollack's work problematical and unremarkable.
I believe my work is true reaction painting, built, as is de Kooning's work, on a forte of drawing. Oehlen's work is just acting-out. His lack of draftsmanship leaves his work with little more than active play, bereft of emotional depth.
To read my profile go to MEHRBACH.com.
At MEHRBACH.com you may view many of my paintings and drawings, past and present, and see details about my life and work.