APRIL 2009
artcritical's exclusive extract from IRVING SANDLER'S new book, Abstract Expressionism and the American Experience: A Reevaluation, plus a review of the book by DAVID CARRIER plus a response from SANDLER to the review
DISPATCHES: Report from Key West
Jackson Martin
At Sculpture Key West, the artists had only a few days - working in the heat, wind and rain - to execute their pieces. The drama inherent to such a logistically challenging process is palpable in the final result., CHRISTINA KEE discovered
podcast
THE REVIEW PANEL
April 2009
Peter Saul
Carol Diehl, Blake Gopnik and Alexi Worth join David Cohen to review exhibitions byTacita Dean, Jenny Holzer, Stephen Prina and Peter Saul.
REVIEWS
posted 04/18/2009
JONATHAN GOODMAN on Shahzia Sikander at Sikkema Jenkins |
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Brilliantly colored, covered with decorative motifs and gestural abstractions, the work suggests a gorgeous manuscript, a place where the politics of place and the pain of indifference no longer exist.
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posted 04/18/2009
JOE FYFE on Louise Fishman at Cheim & Read |
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Fishman had been asking very specific things of her chosen medium: how does one make it relevant to oneself and one’s history? How does one possess it? How do you filter your experiences through it?
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posted 04/25/2009
HEARNE PARDEE on Frances Hynes at June Kelly |
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By relaxing conventional standards of realistic description, Hynes makes her images immediately accessible to the mind and its fluctuations of mood, and enables herself to explore the modernist vision common to the painters that inspire her
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posted 04/20/2009
STEPHANIE BUHMANN on Glenn Goldberg at Luise Ross |
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Goldberg navigates directions between abstraction and referential drawing. Most of his imagery is rooted in the organic and yet conglomerates of patterned forms can establish structures that hint at geometric organization.
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posted 04/08/2009
JONATHAN GOODMAN on Ellen K. Levy at Michael Steinberg |
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The complications of scale bring about violent contrasts and juxtapositions, many of which make little evident sense; this is, I think, a metaphor for the anarchy of war, as well as the dishonesty that provided moral cover for those politicians who originally wanted to invade Iraq.
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