by Peter Plagens
On the surface (pun intended), there’s not that much in Ms. Corse’s large (90- to 102-inch wide) canvases: vertical bands of white, black and often one primary color. But Ms. Corse’s art is exceedingly “smart” in that way that collectors, curators and critics enjoy if they’re attuned to her kind of aesthetic intelligence. The edges are beveled inward so that the paintings seem to float slightly off the wall; the brush strokes in the reflective stripes vary to reward closer looking; and the contrast of emphatically microsphered colors to the more matte blacks is well played. In short, there’s a feeling of just-rightness to Ms. Corse’s paintings.
Mitigating this near-perfection—just a bit—is the questionably chosen hue of a bloody red (Ms. Corse’s blue and yellow are more primary), and a dozen works in the show when half that would have given her paintings needed meditative space. Nevertheless, this is one of the best gallery painting exhibitions in a long while.