Taxter & Spengemann, 2006
New York Times
Art in Review; Daniel Lefcourt

By Roberta Smith

Sept. 29, 2006
Taxter & Spengemann
504 West 22nd Street, Chelsea Through Oct. 7
The works in Daniel Lefcourt's second solo show at this gallery somehow survive looking as if they could have been made in 1967. At first they seem to hail from a time when Frank Stella's shaped paintings, with their repeating bands of metallic color, had painters doing everything possible to avoid conventional paint on canvas and square corners. But ultimately Mr. Lefcourt's efforts layer together enough ideas of their own to land in the present, where abstraction is neither a dead horse nor a religious calling.
These works are stripes in real space: painting-like horizontal arrangements of strips of MDF board painted black that might be called slats if they weren't so sturdy and beautifully finished. Sound like the black paintings that Mr. Stella made before his shaped ones? Exactly. But the stripe-like strips have stripes of their own, regularly spaced needle-thin lines incised across them, sometimes diagonally.
These function literally and illusionistically. They help you see more clearly that the MDF strips are rarely identical in length, while implying a shadow world with its own light, space and perspective. They also elegantly insinuate, on top of Mr. Stella's Minimalism, Post-Minimalist concerns with measurement, systems and drawing, like those explored by Mel Bochner and Dorothea Rockburne in the early 1970's.
But Mr. Lefcourt's concerns are also part of the mix: his loyalty to black, his uncompromising sense of craft and his slightly confounding photographs of objects in his studio, which disdain perspectival logic. The show continues in the gallery's upstairs space, where the black strips spread out to become an installation, and in another piece compress, fusing and even overlapping, as if turning back into a single canvas.
interim agreement at sutton lane, Paris
« Non-denial denial is a term for a particular kind of equivocation; specifically, an apparent denial that appears to be direct, clearcut and unambiguous when heard, but on further examination is not a denial at all. A non-denial denial is not a lie per se, because what is said is literally true, but is instead a form of deception known as an evasion.
The phrase was popularized during the Watergate era by Woodward and Bernstein in their book All the President’s Men, in reference to evasive statements by then-Attorney-General John Mitchell. » – « Non-denial denial » from Wikipedia.
For the inaugural exhibition of its new location 6 rue de Braque, Sutton Lane is pleased to announce the first exhibition in Paris of New York artist Daniel Lefcourt. In the show the artist will present a group of new sculptures and dust drawings.
Lefcourt’s painting-like horizontal arrangements of beautifully finished strips of MDF board painted black further explore the correlation between painting and sculpture while at the same time reflecting concerns with formal strategies of art and abstract language.
In dialogue with his dust drawings these works can be seen as signs of absence, “evasive statements” which allude to that which has been negated or denied.

Breach of contract, Various Exhibitions
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