The olive-colored world that Kay Sage confines to canvas is wide, wet, uninhabited and untroubled. Her private cloudland, on exhibition in a Manhattan gallery last week, might depress some people but would hardly disturb anybody. Surrealist though her paintings were, they had no more wallop than a wisp of smoke.
In settling for weirdness without wallop, Painter Sage parted the twin gods of modern art. Her current reputation as one of the country's most talented dream-scapists proved it could be done.
Art in the Barn. Christened Katherine Sage about a half-century ago, Kay left Albany for Italy when she was only three....
To continue reading:
or
Log-In
