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Tim Litzmann at Mary Boone - New York - Brief Article
Art in America, Feb, 2002 by Michael Amy
Tim Litzmann renders the immaterial visible. His new works consist of translucent sheets of cast acrylic, which are mounted on slender stretchers and thus appear to float in front of the wall. The back of each panel is painted evenly in one color, and the edges are painted in one or more different hues. Overhead lights trained on the works pour through the thinly grained acrylic, causing the colors on the narrow edges of the panels to optically bleed inward and mix with the predominant hues. Extraordinarily subtle gradations of hue and tone at the perimeters heighten the ethereal appearance of the whole. These fields of luminous color, which glow and dissolve at the edges, recall the sfumatolike effects achieved by Mark Rothko in his evocation of the sublime. But the sleekness of Litzmann's tightly contained, vaporous images makes them entirely appropriate for our age. A sheet of plastic has never looked so good.
The smaller gallery contained three square paintings displayed at a slight angle, their upper edges tilted from the wall, as if they were Greek Orthodox icons. Much has been said about abstract art and spirituality, and these works offer food for thought in that respect. The larger room contained four horizontal pieces: a single panel, a diptych consisting of two squares, a diptych formed of two wide horizontals and a triptych comprising three verticals. The single panel is an incandescent yellow-orange field bordered by a glowing, deeper orange. The size and proportions of this immaculately conceived painting feel just right. In the splendid triptych, the top and bottom edges of the pale yellow panels are painted bright orange, while their left and right sides are aquamarine. Here, the artist achieves a frosty and milky effect.
Litzmann's art is about nuance obtained through minimal means. Like Robert Irwin, he uses diaphanous fields to capture light, and hovering surfaces to question the fixity of architectural space. His simple yet remarkably efficient and original technique of pictorial production combined with his gifts as a colorist make this a highly rewarding series of pictures.
COPYRIGHT 2002 Brant Publications, Inc.
COPYRIGHT 2002 Gale Group
