Writings by Piri Halasz

Richard Haas, Fontainbleu Hotel, Miami Beach, Fl. 1986

Walls, ceilings and flaws: a book about murals published as a website


The Mural in America by Francis V. Connor, Ph. D. at muralinamerica.com


Anne Truitt, Gloucester, 1963. Acrylic on wood, 73-1/2 x 72 x 13 inches. Courtesy of Matthew Marks Gallery

Beauty en bloc: Anne Truitt finds her form at Matthew Marks


Anne Truitt: Sculpture 1962-2004 at Matthew Marks Gallery


John Griefen, Untitled (lavender), 2008. Acrylic on canvas, 32 x 103 inches. Courtesy, Gary Snyder/ Project Space

John Griefen: Recent Paintings at Gary Snyder Project Space


The ensemble represents a series of very carefully thought-out painting decisions — yet never do the results look cold or calculated.


Francine Tint, Dream Life of Angels 2009. Acrylic on canvas, 30 x 78 inches. Images courtesy Tria Gallery

Winter White at Tria Gallery


Even in less jovial days of January, whiteness continues to command powerful associations.


Dan Christensen, Dark Tulip 1970. Enamel and acrylic on canvas , 71 x 130 inches. Courtesy of Spanierman Modern

Dan Christensen (1942-2007): The Plaid Paintings at Spanierman Modern


Facture is neither painterly nor hard-edged geometric, but in between–straight edges that nonetheless exude life.


Stanley Boxer, Somewhereamarbleman, 1990. Mixed media on canvas, 50 x 50 inches. Courtesy of Spanierman Modern

Remembering Stanley Boxer: A retrospective, 1946-2000


An exhibition of Boxer’s work runs at Spanierman Gallery through February 18


Friedel Dzubas, Friedel Dzubas, Bornholm, 1978. Acrylic on canvas, 37 x 76 inches. Courtesy of Elaine Baker Gallery for Samuel Minzberg

Multireferential Imagery


This essay is an extract from A Memoir of Creativity: abstract painting, politics and the media, 1956-2008 published by iUniverse, 2009. The book unites art theory, politics, journalism and personal memoir. At its heart lies the author’s theory of abstract art, that instead of being non-representational, it constitutes a “multireferential” form of representation.


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Jack Bush: Works on Paper at the New York Studio School


What most truly characterizes Bush’s mature work is a seriousness, even a gravitas that amounts to a truly Olympian detachment.


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The Art Critic by Peter Plagens


I’ve long felt that Peter Plagens and I had a community of interest, as we’ve both written about art for weekly newsmagazines (he for Newsweek, I for Time, having preceded Robert Hughes in that slot). Imagine my delight when I learned last August that Plagens was publishing his second novel, The Art Critic, in 24 installments on artnet! Twenty-four…


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Willard Boepple: Looms at Lori Bookstein Fine Art


The author finds unexpected links between Boepple and the Surrealist phase of Alberto Giacometti