Sylvia Stone at Andre Emmerich Gallery by Hal Foster
Sylvia Stone’s reliefs made me “turn upon myself” and look again. At first they appear cooly aware, smart in the sense of stylish. Made of plexiglass planes and bits of metal, they are lean and elusive—reliefs that know how to look . . . like “the latest” in reliefs. They know how to talk, too: they refer to Stella’s relief “paintings,” cite Morris’ mirror works, and converse generally on Constructivist relief. That is, Stone makes the important references at a glance (as far as pedigree and peers go) but summarizes, paraphrases—reviewing, rather than revising. I thought Stone recouped relief (a very recalcitrant form), by making it slick and easy to consume.