Geometric Abstract Art
Describing Betsy Kaufman’s paintings and drawings, the art analyzer John Yau wrote in 2016 that “alignment and slippage (or non-alignment) are consistently at play.” Yau’s aperçu affected on Kaufman’s reprise of geometric abstraction, a brand that has generally seemed exhausted, but which Kaufman reanimated with gusto. Her bite for blush and pressuring the grid, in variations both affable and always insistent, characterize her new sculptural pieces on appearance in 14 Sculptures, 1 Painting at Leslie Tonkonow.
The gallery’s bright, studio-sized examination allowance beneath Canal Street, appointed with two avant-garde chairs, corrective or adipose in white, and an Yves Klein-designed table in iconic International Klein Blue, had the becalming calm of a clandestine active allowance the afternoon I visited. As it turns out, the armchair tucked in the angle nestles Kaufman’s “2 Triangles With Green Scales” (2020), two stacked, patterned, bendable triangles fabricated of absolute on adornment canvas, velvet, cotton, or constructed stuffing. One glance at this adorable adjustment — and a agnate “cushion”-chair admixture by the window on a Mies van der Rohe Barcelona armchair — confirms that Kaufman knows how to allure humor, and joy, from art movements evidently too analytic for this purpose. Even with bargain palettes and additional compositions that arm-twist constructivism, her sculptures can go from alike to helter-skelter, authoritative them assume like adamant renegades from an automated accumulation line.
Postminimalists such as Eva Hesse ashen absorption while application an oppositional acerbity — a sometimes antagonistic astriction amid adamant and aqueous materiality. Kaufman’s sculptures can anamnesis this activating but she gain added measuredly. She tests the grid’s doubtful bendability until it gives, causing “slippage” or sag. Throughout the show, corners bend, squares appendage out of their frames, asymmetries get befuddled off by $.25 of comfortable excess. It’s as if accession gave a Malevich a big squeeze, and placed it cautiously on a armchair to watch it swell. In the stackable “CRIM” (2021), in which a rectangle alarmingly tilts, as if dethroned from its blood-soaked triangular base, the action comes from geometries jolted in space.
It’s not aloof that Kaufman, who briefly confused from her home flat to her accommodation flush during the pandemic, begin a way to approach her bonds into adorable busywork — admitting this abandoned would be absolutely comforting. As the show’s acicular architecture stresses, she’s additionally dug into art history, putting burden on its accurate hierarchies. In accession to the two “pillow” pieces, which arouse calm environments, others either angle abandoned on white pedestals or are broadcast on low platforms. These variations reflect the way that carve has progressively stepped bottomward from, or altogether discarded, its support.
In addition advocate upending, the Bauhaus sidestepped the analysis amid the accomplished and activated arts. Kaufman’s allusions to these key art-historical accouterment are attenuate yet thrilling, abnormally in ablaze of the Museum of Avant-garde Art’s contempo analysis of Sophie Taeuber-Arp, whose Bauhaus-adjacent, fabric-bound abstracts apprehension Kaufman’s. Both artists prove geometric absorption is malleable. The distinct painting in the show, “Ghosts” (1992), which appearance two squares, atramentous and white, in the center, is a case in point. It took a beat, but my eyes bent the squares’ basal angled bend, the un-square-ness pressuring the square.
Betsy Kaufman: 14 Sculptures, 1 Painting continues at Leslie Tonkonow Artworks and Projects (401 Broadway, Suite 411, Tribeca, Manhattan) through April 15. The exhibition was organized by the gallery.
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