I had heard of American painter Laura Owens. I’d seen her name bandied about, but a quick perusal of small reproductions of her paintings did not inspire me to investigate further. Then my latest copy of the New York Review of Books, a publication I take seriously, arrived in the mail. It features an essay by another painter, David Salle, on Laura Owens, whom Salle believes is a major artist[i]. Since David Salle undoubtedly knows a lot more about art in general, and painting in particular, than I do, I decided to read his essay carefully in order to figure out what I’ve been missing in Owens’ art.
The answer is that I don’t think I’m missing anything, which may well mean that I’m now too old to grasp what the younger generations are up to. It may mean something else as well, but if I knew what it is, I’d be less inclined to admit that I can’t think of anything useful to say about Owens’ paintings. So I decided to try to say something about Salle’s essay. Specifically, something about what I think of as the “terms of criticism” used by David Salle in his appreciation of Owens’ paintings.