BOMB on the Scene: Robert Greene by Richard J. Goldstein

Sometimes the picture slips, another digital delay, unraveling momentarily into slithering horizontal bands across the flat TV screen.  Take Robert Greene’s bucolic fields populated with pals, poodles, and picnic fare suddenly cleared to monochromatic fields of texture. A lot has changed for the artist and New York since Greene first took a seat in his Corinthian backed Fornasetti chair with BOMB in 1989.  Most of his new minimal paintings are titled with names of friends, a remaining link to figuration but above all his sense of light, color, and total surrender to texture carries on through a different strategy.  Now, he paints on vellum which he then cuts into thin strips to reassemble on aluminum panels. The largest to date (one measuring 20 feet high) are installed in Peter Marino’s new Chanel boutique on LA’s Robertson Avenue.  For the once industrial designer, the materials and “endless” potential of the new process are reflective of his background even more directly, though less obviously, than his earlier picturesque work.  Greene’s approach to painting has primarily been a chance to investigate his sensibilities, and he has followed those through to new terrain. Returning to New York after living 12 years in California, Robert Greene picks up where the conversation left off 20 years ago.

Robert Greene’s Hairy, just released by powerHouse books, offers a previously unseen collection of photographs he has taken through the years of hairy men, dogs, and landscapes.

Video by Clinton Krute.

Richard J. Goldstein is a Brooklyn-based painter and writer.

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