{"id":1624,"date":"2024-04-11T09:03:39","date_gmt":"2024-04-11T09:03:39","guid":{"rendered":"https:\/\/ventil.rs\/blog\/life-style\/in-martha-diamonds-art-she-took-manhattan\/"},"modified":"2024-04-11T09:03:39","modified_gmt":"2024-04-11T09:03:39","slug":"in-martha-diamonds-art-she-took-manhattan","status":"publish","type":"post","link":"https:\/\/ventil.rs\/blog\/life-style\/in-martha-diamonds-art-she-took-manhattan\/","title":{"rendered":"In Martha Diamond\u2019s Art, She Took Manhattan"},"content":{"rendered":"


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Martha Diamond, who died in December, at age 79<\/a>, was remarkably consistent in her subject matter \u2014 namely New York architecture \u2014 but extraordinarily wide-ranging with what a painting of a building could signify.<\/p>\n

In some of the works displayed in her first show at the David Kordansky Gallery, \u201cMartha Diamond: Skin of the City,\u201d it seems as if her only concern was for color; in others, abstract form takes over. Some locations are identifiable; other pictures are not even recognizable as buildings. In a painting such as \u201cNew York With Purple No. 3\u201d (2000), the tall buildings appear to evaporate into the busy sky, architectural solidity succumbing to shimmering atmosphere and dappled, springtime light.<\/p>\n

Diamond\u2019s paintings may have been of New York, her muse since she settled into a loft on the Bowery in 1969, but they are about so much more besides.<\/p>\n<\/div>\n