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Saturday, September 28th, 2013

Welcome to an artcritical Fall: The bulletin returns


An untitled, undated work by James Castle (found paper, crayon, soot 3 5/8 x 6 3/4 inches) on view at Peter Freeman, Inc.’s exhibition, David Adamo/James Castle, one of the exhibitions under consideration at The Review Panel on October 4.

An untitled, undated work by James Castle (found paper, crayon, soot
3 5/8 x 6 3/4 inches) on view at Peter Freeman, Inc.’s exhibition, David Adamo/James Castle, one of the exhibitions under consideration at The Review Panel on October 4.

This is artcritical’s first bulletin in a while, and marks our intention to be in direct touch with readers and listeners this way on a more regular basis.  A lot has been going on at our website recently since the appointments this spring of Nora Griffin as associate editor and Mary Negro as associate publisher.  The imminent arrival of new seasons, respectively, of The Review Panel, starting its ninth year at the National Academy Museum, and its sister series at the Pennsylvania Academy, The Review Panel Philadelphia, is a fillip to reviving a regular email newsletter.  We’ve been tending so lovingly to the garden that no one thought of oiling the back gate.

The season opener of The Review Panel next Friday sees the return of three of moderator David Cohen’s regular guests: New York Times co-chief critic Roberta Smith, who I think has been on more panels than anyone else; the Italianist and art historian Ara Merjian; and painter/critic Stephen Westfall.  This sunny New York weekend is a glorious opportunity to hit the streets and see the shows.

Many readers get instant jolts of artcritical posting news from our Facebook page and our Twitter Feed where recent announcements have included, for instance, new contributor David Plante’s masterful interview with Rosalind E. Krauss as well as an exclusive web-extract from his new book, Becoming a Londoner: A Diary.  Plante keeps company with distinguished novelists and biographers who are happy to make artcritical a home for their occasional art writing: Edmund White, for instance, who wrote for us last spring on the photography of Ariane Lopez-Huici.  Samplings from our regular critics on the front page right now include Franklin Einspruch on the group exhibition, Pour; Rupert Goldsworthy on a show of Darren Jones; David Carrier on Leila Heller Gallery’s juxtapositional Calligrafitti; Nora Griffin on Raphael Rubinstein’s revisionist take on abstraction in the ‘80s; and new contributor Lara Mimosa Montes on Jack Goldstein at the Jewish Museum.

While the panel delves into diverse commercial gallery exhibitions in Chelsea, SoHo and the Lower East Side, the art season is also bearing witness to incredible riches in New York’s museums, with shows of René Magritte, Robert Indiana, Edward Hopper, Chris Burden et al. completing their run or about to open.  A roster of artcritical writers and invited artists (David Carbone, Christina Kee, Duncan Hannah and Vincent Katz) is about to join Griffin and Cohen to lock horns in email colloquium on the Metropolitan Museum’s Balthus: Cats and Girls.  That will post about when our next bulletin wends its way.

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