Terry Winters at Matthew Marks Gallery, by Michael Brennan

Let’s begin by dropping some stock material. Abandoning, for a moment, dystopia, information theory, or recalling Piranesi’s prison etchings for the umpteenth time, along with metastasizing mutatis mutandis and all of the Popular Science pseudo-scientific (scientistic really) rhetoric that sticks so easily to the toothy surfaces of Terry Winters’ work. Winters is an important artist. His paintings have proven relevant because they reveal the often invisible operations of the wilder, real and artless avant-gardes informing […]

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