Even an astute connoisseur would be hard pressed to locate specific Nozkowskian tropes. There are some recurring motifs, but internal scale, texture, and mood present themselves in different coordinates. This is the more remarkable because Mr. Nozkowski’s modus operandi is so prescribed in terms of scale, medium, taste, and authentic touch.
The experience in this richly diverse exhibition is not of transition so much as consolidation: the new works, whether big loopy abstractions in fat confident brushstrokes or weirdo figuration, seem legitimate outgrowths of the precious, tight, miniaturist Siena of old.
Julian Hatton at Elizabeth Harris, Byron Kim at Max Protetch, Alexander Ross at Marianne Boesky and at David Nolan and Tabaimo at James Cohan
Art historians usually feel no need to look back at the history of art history. Michael Podro took a different view. He believed that a way to understand visual art was to look critically at the history of art history. His first book The Manifold in Perception: Theories of Art from Kant to Hildebrand (1972) provides…