Writings by David Carrier


Michael Podro (1931-2008)

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…


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.

Installation shot, details to follow.

Successive Approximation: Tauba Auerbach, Daniel Buren, Sol Lewitt, Mike Quinn and Robin Rhode

Tauba Auerbach, Daniel Buren, Sol Lewitt, Mike Quinn, and Robin Rhode at Perry Rubenstein Gallery


Painting Then For Now; Fragments of Tiepolo at the Ca’ Dolfin

When these three Tiepolos at the Met were removed from the main salon of Ca’Dolfin, the intended site-specific lighting effects were lost. But Alpers, Hyde and Kulok recreate the way that, to quote Alpers and Baxandall, “the world, on Tiepolo’s account, presents a conundrum and his painting makes us conscious of having to work to make things out.”


The linear and the painterly: How art today uses its traditions

Saul Steinberg at the Morgan Library, Merlin James at the Studio School


High Times, Hard Times: New York Painting, 1967-1975

an exhibition curated by Katy Siegel with David Reed

James Lee Byars, Untitled (Performable Scroll), ca. 1967. Paper, wood. Courtesy Michael Werner Gallery, New York and London.

James Lee Byars

Byars’s exhibition at MoMA PS1 continues through September 7.