DATE: March 7, 2010
Forty black-and-white photographs dating from 1938 to
1985 emphasize the marvellous range and consistency of Siskind's
Abstract Expressionist work.
Aaron Siskind, Chicago 206, 1953/1980, Courtesy Alan Klotz Gallery
and framing tar-splattered patches of pavement, weathered planks,
flaking plaster, torn posters, and other marked-up urban surfaces, he
recognized the equivalent to Pollock, de Kooning, and Motherwell's
gestural freedom in anonymous found materials. A 1973 series that zeroes
in on broad swaths of smeared paint is titled "Homage to Franz Kline,"
but most of Siskind's work finds its own vivacious language in graffiti,
rust, or peeling paper. Once you learn it, the world will never look
From The New Yorker.