Posts from March, 2008

Alexander Ross at David Nolan Gallery


His new show opens Thursday, October 30


Gustave Courbet


As a painter, Courbet ravishes a nude in the same manner as he would a tree or a trout: for the visual evidence of its expressive physicality.


Ruth Root


For an abstract painter of her generation, the older distinctions between figurative and abstract art, or between politically critical art and the consumer products of mass culture cease to have much importance. Perhaps that is why her essentially cheerful art shows no signs of th angst which inspired so many of the pioneering Abstract Expressionists.


Fay Ku


Like Henry Darger, Ku refers to a mindset populated by children who undermine confidence in the world as it is. She presents disturbing tableaux, meditations on transgressions that make no sense, that seem to come out of nowhere.


Sean McCarthy: I Think of Demons


McCarthy’s chimerical hybrid creations are sphinx-like. Mysterious and inscrutable, their individual characteristics undermine any symbolic reading. They are rooted in the real world, but also convey a complete sense of otherness.


March 2008: Svetlana Alpers, Phong Bui, and Linda Nochlin with moderator David Cohen


Silvia Bächli at Peter Freeman, Inc., Michal Rovner at PaceWildenstein, Catherine Sullivan at Metro Pictures, Jeff Wall at Marian Goodman Gallery, and Dan Walsh at Paula Cooper Gallery


Bingyi Huang at Max Protetch


Given Huang’s indirectness, we experience the scene as if imbued with symbolist forms, which reveal their meaning only fleetingly. Yet the painting does not feel deliberately obscure, but rather poses the question, How much must be revealed before the images makes narrative sense?


Rackstraw Downes at Betty Cuningham and Greg Lindquist at Elizabeth Harris


Downes paintings reflect a unique combination of aggressive conception and passive elaboration. Fervent perceptions of space enliven their broad outlines; details follow, filling in the story of each site exactly “as is.” Colors add atmosphere and light.


The Artwork Caught by the Tail: Two on Francis Picabia from MIT


Francis Picabia and Dada in Paris by George Baker and I Am a Beautiful Monster: Poetry, Prose, and Provocation by Francis Picabia


© MURAKAMI


The Geffen Contemporary at MOCA 152 North Central Avenue Los Angeles, CA 90013 October 29, 2007–February 11, 2008 The late 20th century art world had a bad conscience about high art which was vilified as serious, profound, mysterious, spiritual, elitist, pretentious, outmoded and labor-intensive. This led to infatuation with popular culture (silly, superficial, obvious, materialistic,…