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The Boston Globe

Theater & art

Art Review

Jon Imber’s nimble shifts capture life, in all its forms

NEW YORK — Good painting pulls at life, like the fingers of a plaintive child tugging at a parent’s sleeve: Come and play! The paintings of Jon Imber have an unusually insistent pull — you feel something vital at stake — which is what makes the career survey of his work in the Godwin-Ternbach Museum at Queens College such a joy.

Imber, who lives with his wife, the accomplished painter Jill Hoy, in Somerville, has been a much admired figure in Boston for several decades. Born in 1950, he was a student of Philip Guston, the great postwar painter who made his various shifts between figurative and abstract styles feel as consequential as the shifting of tectonic plates.

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