Judy Millar has become one of New Zealand painting’s leading figures and in some ways, she is a starting point for this project, an artist who addresses painting without apology. Her recent works are known for their ‘gesturalism’ – a feigned expressionism that simultaneously undermines and reinforces Greenbergian art-politics. Ostensibly, they are about surface, the grid, and repetition – abstraction’s classic devices. But while the things she makes can be beautiful, they also raise an eyebrow towards the contemporary art world’s view of abstract painting.
Her work manifests a strange spatial …
