STEPHEN WESTFALL (American, b. 1953)
    Yardbird, 2002
    Alkyd and oil on canvas
    48 x 60 inches (121.9 x 152.4 cm)
    Signed, titled and dated on the reverse

    Lennon, Weinberg Gallery, New York, September 2003

    Grids and shapes that are never quite straight or square characterize the paintings Stephen Westfall produced in 2000-2003. In a May 4, 2001 review for the New York Times, Roberta Smith called the trademark of Westfall's work of the period "calibrated destabilization," which aptly describes Yardbird. "Over the years he has used it," Smith continued, "to revive the tired vocabulary of modernist abstraction, in particular the Mondrianist ideal of grids and color blocks...His tattersall grids have jagged intersections; his colors tend toward off-key, either pale or a little rich; his corners never square. With everything slightly ajar, a subtle yet marvelously optical jostling of form and space sets in."

    In Yardbird, Westfall doubled the layers of grids, making things more than twice as complicated. Additionally, as the grids expand in thickness they begin to read as fields of color, causing the elements to pop back and forth between figure and ground. Yardbird is spiced with allusions to the real world beyond the fattest grid, perhaps a brick wall with its own grid and stone cap, a band of sky, and perhaps the edge of a green awning--all things a yard bird would know. Stephen Westfall, lives and paints in New York, is a professor at Bard College, and a critic whose work has appeared in Art in America, Vogue, The New York Times, Arts, Art News, the Partisan Review, and the New Criterion.

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    Auction Dates
    October, 2011
    26th Wednesday
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