Garth Greenan Gallery presents Howardena Pindell: Painting 1974 – 1980, a process-oriented show of unstretched canvases clinging to the gallery drywall. The tapestries, all untitled, are evenly treated with a chromatically pastel adhesive with which thousands of hole-punch chads and glitter are glued to all-over surfaces. Greenan’s presentation of Pindell suggests that the artist should be revered for her contributions to the hand crafted and the homemade
The survey leaves out Pindell’s important shaped works and excludes the artist’s figurative ventures (which ambitious diversity was recently presented at G.R. N’Namdi in Chicago). Instead Greenan’s presentation focuses on the artist’s all-over abstractions which are filtered through Pointillism.
Pindell appears to have the theory that by using hole punched chads as pointillist dots, she will resurrect the Romantic-precisionist ideals of the 19th century. The resulting dotted tapestries are certainly appropriate for Easter in color palate, but rather than resurrecting Pointlist ambitions, the work makes a strong argument for the buttery beauty of the truly homemade.
Stronger are smaller works on paper in which the chads swivel up to become multidimensional miniature landscapes. Using her precise techniques with paper, Pindell engineers the impression that the tiny hole-punched dots are standing up on end like hair near a balloon. In this venture, she deserves acknowledgment for her facility to materialize abstraction.
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