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However, the difference from one painting to another is consistently subtle. The exception is Those Cool September Mornings No 1, which maintains the forms but strips out the color, much like a color photograph printed as a black and white. The rest of the paintings keep the same mix of colors, with a similar varied intensity; albeit even as the dimensions of the canvases fluctuate. The danger is having the work become serialized in which it becomes difficult to distinguish one from another after you�ve left the exhibition. The other thing is that these paintings seem devoid of struggle. In other words Farb is clearly comfortable with her technique; perhaps too comfortable. This does not detract from the excellence of this work but leaves open the question of where the artist can go from here. |
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Adrienne Farb, Un Petit Regard sur la Lune No 3, 2004, oil on linen, 73 x 63 in |
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But a look forward is difficult to divine because subtle change, as tied to the overt differences of hue and contrast and proportion between the forms, is central to Farb�s content. Another paradox playing into the content is that, for all their color, these paintings are essentially �colorless�. Look at any one piece with the exception of the black and white one and try to discern one or more overriding hues or color theme. Certain colors stand out in certain paintings given their brightness and darker |
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