The Boston Phoenix:
Composition in 2026 Black and 3015 White, 22.5 x 20
For some time now, East Cambridge artist Brian Zink has been rummaging through the history of '60s minimalism. His last body of work was wall reliefs assembled from Band-Aid-colored plastic handrails or bumpers like the ones you see in hospitals. They're serious, striped constructions, but also faintly humorous — like sculptures Carl Andre might make if he was confined to a nursing home.
Zink's new show, "Assembled" at Howard Yezerski Gallery (460 Harrison Ave, Boston, through February 7), features handsome, hard-edged abstractions assembled from mod, jitterbugging patterns of flat Plexiglass tiles. Some diamond and triangle designs feel like details from argyle sweaters. A white square radiates black and white rays like a Japanese rising-sun flag. One pattern of wide M's and W's made from black and white parallelograms begins to suggest fences receding back into space. But mainly Zink picks designs that emphasize the flatness of the surface.
And, oooh, those surfaces: shiny Plexi tiles — mostly muted blacks, grays, and ivories — catch the light of the room as well as your reflection. The works bring to mind the '50s California hard-edged paintings of Lorser Feitelson or Karl Benjamin, op art, the high gloss of fetish-finish art, and that line from the 1967 film The Graduate about the future being "plastics." They're buoyant, but also hermetic. It's not the sort of abstraction in which you dive into paint that's been whipped up into moody outbursts. It's about cool, sleek design and staying on the synthetic plastic surface. This literal shallowness is both tantalizing and alienating. Like Frank Stella said of his own flat, geometric paintings in 1966: "What you see is what you see."
- Text by Greg Cook, January 10, 2012
The Boston Globe:
Composition in 2026 Black, 3015 White and 2308 Turquoise, 32.5 x 30
Synapses firingBrian Zink is a minimalist with pizazz. His show, “Assembled,’’ at Howard Yezerski Gallery, is deceptively straightforward and clean: Using Plexiglas, he lays out geometric patterns on panels. They buzz and pop and shift. They’re not paintings, but they explore one of painting’s conceptual edges, between object and picture.
We interact with the object on a physical level: It’s a boxy panel that protrudes a bit from the wall, with a shiny surface. The picture engages the imagination: Is it just a pattern? Does it depict space? “Composition 2662 Red and 2026 Black’’ is a checkerboard made of trapezoids. The diagonals hint that the picture goes beyond the surface; abutting trapezoids resemble the faces of a jutting or receding cube.
Zink makes several works using the same pattern with different colors. A zigzag of turquoise and black rhomboids over white looks as if it’s floating; the same zigzag of white and green over black looks flatter, grounded. There’s a wonderful clarity to these pieces. Looking at them enables us to witness our synapses firing, as we leap conceptually between space and surface.
- Text by Cate McQuaid, January 18, 2012