Writings by Jonathan Goodman

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Takako Azami at M.Y. Art Prospects


One of the most interesting aspects is Azami’s negative capability: her technique demonstrates a willingness to expunge the self in favor of a poetic exactitude of description.


Ins & Outs: Zaun Lee and Suzanne Song at Satori Galler


A persistence of hard-edged nonobjective painting shows the lineage of modernism hanging on, even if only by the fingernails.


Jenny Holzer: Protect Protect at the Whitney Museum for American Art


Her aphorisms are generalizations with political intent.


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Albert Oehlen at Luhring Agustine


Trying to fail has played a major role in the work of Albert Oehlen.


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Shahzia Sikander at Sikkema Jenkins & Co.


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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Ellen K. Levy: Stealing Attention at Michael Steinberg Fine Art


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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Barkley L. Hendricks: Birth of the Cool at the Studio Museum in Harlem


The painter Barkley L. Hendricks caught not only the mood, but also the dress of black Americans in the late 1960s and early 1970s. Indeed, the subhead of the Studio Museum’s exhibition, “Birth of the Cool,” gives the nod to the development of a style whose casual hipness and intimated militancy marked a generation of African Americans.


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Lin Yan at China Square Gallery


Lin has managed, through wit and a visionary interpretation of speech, to create a low-relief sculpture that refers simultaneously to American political and artistic history.


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Matt Mullican: A Drawing Translates the Way of Thinking at The Drawing Center


When Mullican asserts in writing that the “preoccupation with materials and processes seems to clutter up the phenomenon of what interests me,” he is making it clear to us that no individual person or thing can contain the entirety of that which engages him. Thus the artist reworks appearances as a means of describing the gestalt that both energizes and evades his hand.


Miguel Trelles: Trámite – Hsiao at the Gabarron Foundation Carriage House Center for the Arts


Much of his earlier work has been involved in reconciling his interests in Chinese traditional painting with his very contemporary reading of his own outsider status as a bilingual Latino artist in America.