Saul Ostrow is the Art Editor for BOMB Magazine and the Chair of Visual Arts and Technologies at the Cleveland Institute of Art. He was co-editor of Lusitania Press (1996-2004) and editor of the book series "Critical Voices in Art, Theory and Culture" published by Routledge, London. Since 1987 he has curated over 70 exhibition in the US and abroad. His writings have appeared in numerous art magazines, journals, catalogs, and books in the US and Europe. He regularly writes for Art in America.
Lost Opportunities: The Early Work of Don Dudley by Saul Ostrow
Last spring I went to a dinner in New York at the loft of the artist Don Dudley. In the seventies he made some great Minimalist works that literalized flatness as structure as well as surface, and he exhibited a modular piece at the Whitney Museum of American Art in 1972. By the eighties he was exploring the space between painting, sculpture, and design by producing object-like works that embodied a sense of imminent functionality. I’m not sure how, but the conversation that night drifted around to the subject of Dudley’s having come east in 1968 from LA. This was perhaps a strange time for a young artist to leave, just at the moment when Southern California was emerging with an art-world identity of its own.