straight-forward because Yamin�s focus is more aimed at an exploration of the materials. From this perspective everything is considered. For example, the �color� implied within the black medium as well as the white (or more often cream) of the paper is as important to these pieces as the forms.  In many ways this work engages in the same way that black and white photography does.  In other words, overt color is stripped away; the better to eliminate its distractions that we might see the essentials of form, space and contrast.

The content for this work is found in the artist�s ability to dance along a thin line between figurative and abstract art.  If she was ever aware of such a line, Yamin does not demonstrate that awareness in her art.  There is simply a joyous presentation of imagery offered that is lush, intriguing and engaging despite the diminutive dimensions of the work.  Another important aspect for understanding these pieces is the combination of a reductive pallet bumping up against the sensuality of the forms and how they are rendered. From such a perspective Yamin comes off as a bit of a sensual Minimalist that is in no way contradictory.

This exhibition represents a miniature tour-de-force, as it were, by compacting these 3 powerful painters into the confines of a medium-sized gallery space.  Cecily Kahn is the daughter of Emily Mason who in turn is the daughter of Alice Trumbull Mason.  Inevitably comparisons and contrasts need to be made between them which serve as an important driver for this show.  However, it must be noted that each of these artists are completely capable of standing on its own merits.

Alice Yamin at the Painting Center

Emily Mason at Hunter College