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| Pinched Orange, 1964 |
The 2014 Biennial was bland. Even
Mario Doucette's work couldn't lift it from feeling like a recycled lump. But it isn't as though the
NGC was putting it in serious competition with their major show, the Jack Bush Retrospective, co-curated by Marc Mayer and Sarah Stanners. The show is big, perhaps too much so, and impressive. It's not impressive just because it's big, thankfully, although that's usually a significant help to it. For example, when the many rooms that make up the show open up into each other, when you can stand in a position and glance one direction to another to survey years of work in either linear path, there's a kind of overwhelming impressiveness. This linearity, which is chronological, is essential to the show and the workman-like quality that it gives to Bush's works.
