Rauch and Deisderio.....at NYA

I posted earlier about the exhibition at the New York Academy, The Big Picture, follow this link to see some of the work. Daniel Maidman reviewed the show for Whitehot Magazine and I found myself agreeing with his response to Neo Rauch and Vincent Desiderio, that I wanted to share.

Let me just come right out and say that I don’t get Neo Rauch and Vincent Desiderio. Desiderio’s technique is dazzling, and Rauch’s is audaciously graphical. They are both clearly capable painters. They both meet the compositional challenge of the large image, Rauch with a Jan Steen-like messy interior in Hausmeister, and Desiderio with a spare geometric arrangement of seemingly unrelated elements in Quixote.
Rauch’s implanted and then carefully obscured texts seem emblematic to me of the meaning of his work overall. I cannot decipher it. It is bright, brassy, and blank. It pushes me out; I am never invited into his universe, and never gain access to it.
Desiderio’s paintings are dense with webs of reference. Like Quay brothers movies, the technically ambitious depictions of textured objects and spaces seem to serve as staging grounds for a presentation of ideas. If one sat and stared long enough, I think one might begin to deduce those ideas.
The same may well be true of Rauch, but while I am always haunted by the thought I have not yet read Desiderio closely enough, I find myself fleeing Rauch every time I see him. Check out the entire review here.
I've been to drawn to Rauch's work again and again, but like Maidman, I'm never granted access.
Neo Rauch, Hausmeister, 2002, oil on canvas, 94 x 78.5 inches
courtesy of the artist and Galerie EIGEN + ART Leipzig/Berlin and David Zwirner,
private collection

Vincent Desiderio, Quixote, 2008, oil on canvas, overall: 107.75 x 458 incourtesy of the artist and Marlborough Gallery


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