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Jackie Saccoccio

体育投注网平台A good abstract painting can seem inevitable—less made than materialized, like a Helen Frankenthaler stain or the squalls of Joan Mitchell. For thirty years, this American painter has been collaborating with chance on her compositions, pouring oil, scumbling dry pigment, dragging one canvas across another, and rattling, turning, and otherwise performing her surfaces until the results make the laws of gravity appear moot. In “Femme Brut,” Saccoccio’s new show (which continues at Chart, in Tribeca), the artist introduces an old-fashioned technique: drawing directly onto her paintings, with oil pastel, in furious cursive bursts. Several of these big, ambitious pieces, including “Le Puits Noir (Concave)” allude to the landscapes of Gustave Courbet—a suggestion, perhaps, that the only distinction between realism and abstraction is how an artist handles her paint.