Writings by David Carrier

Bill Beckley, Station 1, 2002. Cibachrome photograph, 81 x 44 inches. Courtesy of Tony Sharfrazi Gallery

Silently Still Among Us: The beauty of Bill Beckley


Bill Beckley at Tony Shafrazi Gallery, May 15 to July 30, 2010


Christopher Wool, She Smiles For The Camera I, 2005. Enamel on linen, 104 X 78 inches. Courtesy Luhring Augustine

Painting Abstraction by Bob Nickas


In the 1980s, when painting was commonly said to be dead, many group shows were devoted to abstraction.


Andy Warhol, Rorschach, 1984. Acrylic on canvas, 158 x 110 inches. The Baltimore Museum of Art: Purchase with funds provided by Laura R. Burrows-Jackson, Baltimore; and partial gift of The Andy Warhol Foundation for the Visual Arts, Inc. © 2010 The Andy Warhol Foundation for the Visual Arts/Artists Rights Society (ARS), New York. Photo: Mitro Hood

Mysterious to the End: Andy Warhol’s late work


Andy Warhol: The Last Decade at the Brooklyn Museum.


JerrySaltzCover

Seeing Out Louder: Art Criticism 2003-2009 by Jerry Saltz


Saltz is a great art writer who rarely fails to amuse, entertain and instruct


installation shot of the exhibition under review, Courtesy Haunch of Venison, New York

Brian Alfred: It’s Already the End of the World at Haunch of Venison


Alfred’s note perfect exhibition strips his media images of their usual affect to present the soothing vision of an extreme aesthete


DCIreland

Brian O’Doherty/Patrick Ireland: Between Categories by Brenda Moore-McCann


“His ambition,” Moore-McCann concludes, “is nothing less than a transformation of thinking, looking beyond material objects to underlying systems of belief”


Giambattista Tiepolo, Time Revealing Truth c. 1758. Oil on canvas, 231 x 167 cm. Museum of Fine Arts, Boston. Charles Potter Kling Fund

Tiepolo Pink by Roberto Calasso


Giambattista Tiepolo (1696 – 1770), very famous and much in demand in his lifetime, has a roomful of his enormously tall paintings at the entrance to the European galleries of the Metropolitan Museum. Thought to be just a gifted decorative artist, unlike Piero della Francesca, he has not has not become a culture hero. In a…


Pat Steir, Self-Portrait: Reprise 1987-2009. Wall Drawing, ink and chalk. Photo by Christopher Burke , Courtesy The New York Studio School

Pat Steir: Self-Portrait: Reprise 1987-2009 at the New York Studio School


Taking subjects from the raw materials for old master art, Steir transforms them in accord with her very contemporary sensibility.


Peter Halley, Rectangular Prison with Smokestack 1987. Acrylic, roll-a-tex/canvas, 72 x 124 inches. Courtesy of Mary Boone Gallery.

Peter Halley Early Work: 1982 to 1987 at Mary Boone


10 September to 24 October, 2009 745 Fifth Avenue, between 57th and 58th streets New York City, 212 752 2929 In the 1980s, when painting was beleaguered and abstract painting under much pressure, Peter Halley was one of the few younger abstractionists who attracted attention. His distinctive hard-edge pictures were accompanied by his theorizing that,…


installation shot of the exhibition under review

Yan Pei-Ming: Landscape of Childhood at the Ullens Center for Contemporary Art, Beijing


By his critical reference to the illusions of the rhetoric of the Olympics, vastly expensive events which diverted funding from the fundamental needs of the population, he makes a powerful political statement, all the more potent because it is extremely elliptical.