William Steiger

Margaret Thatcher Projects, New York
Through November 25

The industrialization of America during the twenties and thirties left an indelible mark on the work of some artists, whose names came to be associated with American Modernism. In different ways, these artists all sought to portray the transformation of the landscape, happening right before their eyes. Deeply rooted in the collective memory, the cultural and artistic heritage of that period has left its mark on William Steiger’s painting, whether more or less consciously.

Structures, artifacts and machines from the past, the subjects of his paintings are for the most part obsolete. Shown close up in the foreground, they stand out against an almost neutral background. When present, landscape serves only to give the image depth: airplanes, rail tracks and water tanks are transformed into epic emblems of American history.

Yet Steiger doesn’t neglect to evince the negative aspects of technological innovation – that it rapidly becomes out-dated and is not impervious to failure. In Accident #1 (2000) and Accident #2 (2000), for example, a toy-like, propeller-driven aircraft crashes to the ground. The damage, however, is minimal and we are more inclined to laugh than be disturbed by the scene.

With their clean-cut, linear brushstrokes, these paintings employ a technique more reminiscent of certain cartoons and would seem to allow for little reworking. In Watertower 130 ft high (2000) the artist leaves traces of underdrawing on the canvas, possibly an electric cable or tree. Tongue-in cheek references to the pentimenti discovered in art historical masterpieces, they nonetheless leave undisturbed the compositional harmony.

Beyond black, white and gray, the color range is limited to ochre and dark green for sketching in the landscapes. 5 Sept 10 (2000) forms a typically Steigerian example, the title evoking an event inscribed on the pages of history, whose protagonist is an airship.




Micaela Giovannotti
Translation by Rosalind Furness