Harvey Quaytman

Harvey Quaytman's interpretation of 1960s Minimalism and Hard-Edge abstraction culminated in work that swayed between two and three dimensions. The result was sometimes odd but always elegant: arching forms appear like wedged shoehorns within the pictorial space, gently exposing painting's material infrastructure. During the 1970s, Quaytman delved further into abstraction, experimenting with rich, heavy pigments as well his signature medium, rust. From 1985 onwards his work focused on the intersection of lines in cruciform shapes, giving his lifelong curiosity about the nature of painting a strict, mathematical logic. The book explores Quaytman's work through his paintings and drawings, installation photographs, and an extended essay by Dore Ashton, renowned critic and art historian, and a contemporary and friend of the artist.