Continuing through June 6, 2012
The second in a three-artist series entitled "The New Germans," Jost Münster’s exhibition, "Doppelgängers," includes minimalist-inflected paintings in the vein of geometric abstraction. Based in Ulm, Germany, and London, the artist deploys lightly distressed surfaces and a vocabulary of organic and hard-edged shapes to suggest architectonic structures. The large-scale piece "To the Left, to the Left" evokes directional signs in an airport, train station, or bus depot, while, in a series whimsically entitled "Drunken angels go blind," the artist stacks imagery of rough-hewn slats atop one another, suggesting fences or Venetian blinds.
The show’s most compelling works incorporate holes within the compositions, as in "Spot," whose cut-out circle betrays a blue interior hiding beneath an exterior white plane. The droll "Forever Young" leaves the entire center open, with rings of black, white, and pink outlining the negative space. Throughout the show Münster’s work is lively and varied, a sophisticated update of the modernist idiom.
