Black Square 1; a critical analysis

Toby Shortz Black Square 1 appears to the casual observer as nothing more than a large black square. The title implies this, with a self-depricating humor that is so typical of the artist, who once observed during a conversation with Tina Baldi at Ferruci’s beach house, “Yes, I do like olives.”

The masterful work, currently exhibited at the Retro Metro Diner Gallery (WoHo), may begile with simplicity, but upon examination speaks volumes.

Black Square 1, like his previous work Red Circle 4 and the seminal Yellow Square 7, interpets the space not only on the canvas, but around it in a complete and facinating dialogue of shape, form, politics and cultural affirmation. By squinting sideways at the work, the supposedly black surface becomes so much more as the optic nerves strive for meaning. A meaning that is fraught with concern and danger to the current attitudes of nilhist self-absorption found in so much of the German Post-Impressionist Expressionist work seen today.

Not since Mason-Diverge famously spread cream cheese on tree limbs around the Trump Plaza Hotel (Philly Elms, now in private collection – ed.)has such a bold statement thrust itself upon the cultural scene. Even the draping of polyester dropcloths across the Liberty Bell by Sherwin, or his exhaustively reported Park Bench In Polyester, created in answer to his own Mom’s House In Polyester, has a contemporary – nay, neo-contemporary – work spoken so much to the concerns of modern society.

Black Square 1 – the very title suggests the artist’s premonition of controversy and chaos across the globe – is a work of destabilization, but unlike those we have seen so much over the years. It is the work of an ideologically motivated extremist determined to demonstrate that the rule of law, the force of order, has broken down and only the direct vigilante action could reclaim the social fabric so rent and torn as to be unrecognizable – witness the purposeful use of square edges as didactic conversation with the surrounding environment.

If Kafka had stated “We must eat lunch. It is noon.” then this would be his answer.

This reporter viewed this work not only as painting, but strident call to arms by the artist. A call that will be answered, demands answer. It demands the attention and understanding of the viewer and will not be denied.

For this we can only be grateful. Black Square 1 has demanded. We must answer.

Trolli Takobelli is a contributing editor and reviewer. His work is consumed eagerly in such publications as ArtNews – the sequel, Unknown Currents IV and XII, Figures and The Understanding Of Pictures by Brandeis University Press. He may be reached.