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Without the aid of drawings, photographs, or other preceding studies, it is impossible to discern in Yellow with Red Triangle the view of a house and dormer window that, according to the artist, was the painting’s source. In fact the source image, a kind of architectural landscape, is completely lost in the finished painting. There are simply two joined panels, one smaller than the other, each saturated with smooth, nonreflective monochromatic color. The original image has been sacrificed, but the object of Kelly’s representation has not. The flat, taut sculptural cutouts separated by a decisive seam cast the work in sharp relief against its surroundings and charge it with its own palpable reality. Eternally locked in perfect tension, both within its parameters and in relation to its context, the painting is more than an ideal distraction. It seems ready to spring forth from the wall and declare its own truth. . . .
:: Jonathan P. Binstock, Curator of Contemporary Art
Corcoran Gallery of Art |
Text excerpted from A Capital Collection: Masterworks from
the Corcoran Gallery of Art.
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