The Silver Concubine 1962

Robert McGinnis conjured The Silver Concubine with paint, and what’s so striking is how he teases out depth with such a light touch. Look at the wood grain of the building behind the figures: vertical, gestural strokes, quickly applied, yet they give us so much information. Then there's the man, his shadow a dense block of darks, a simple shape implying a whole mood of threat. But, conversely, the woman's dress is a soft, almost watercolor-like wash that creates a sense of delicacy and vulnerability. The whole thing exists in this space between suggestion and detail, like a memory fading in and out. It reminds me a little of Alex Katz, especially in the way he flattens space while still giving us a clear sense of form and atmosphere. And like Katz, McGinnis seems to understand that sometimes, what you leave out is just as important as what you put in.