Criticism
 
Stephen Maine, HP11-0402,  2011. Acrylic on panel, 20 x 16 inches. Courtesy of the artist and 490 Atlantic Gallery.
Two artists’ recent shows in Brooklyn explore surface as substance. ...
 
Photograph of Milton Resnick.
Milton Resnick’s long but underappreciated career gets a review and revision at Mana Contemporary. ...
 
Andy Warhol, Nelson Rockefeller, 1967. Acrylic and silkscreen on canvas, 75 x 56 x 1 1/4 inches. Copyright The Andy Warhol Foundation, courtesy of The Queens Museum.
The Queens Museum untangles the outrage and hypocrisy around Warhol’s commission at the 1964 World’s Fair. ...
 


Minoru Yamasaki, Model of the World Trade Center, ca. 1964. Mixed media. Photograph by Jin Lee P, courtesy of the 9/11 Memorial Museum.

In The Shadow of Loss, Make the World New Again: The 9/11 Memorial Museum


The new 9/11 Memorial Museum encourages misery, which might be its necessity.


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Light Up Gold: The Work of Rafael Wardi


A legend in his own country, the Finnish painter expresses an almost greedy desire for light and color.


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A Dispatch from “Manifesta 10″


David Carrier reports on the politics and curatorial gambits of “Manifesta 10,” now on view in St. Petersburg.


The Brisbane Powerhouse. Photograph by Jon Linkins.

Scene Down Under


Juliet Helmke reports on the Australian arts community.


Lygia Clark, Clark’s proposition Diálogo de mãos ("Dialogue of hands," 1966), in use probably by Clark and Hélio Oiticica. The object is made of elastic. Courtesy Associação Cultural “O Mundo de Lygia Clark,” Rio de Janeiro.

Offline: Lygia Clark and the Original Social Media


This ambitious retrospective of Clark’s work is one of the first major exhibitions of her work outside of Brazil.


Vasily Kandinsky, Singer (Sängerin), 1903. Woodcut on Japanese paper, mounted on paper, 35.9 x 24.8 cm. Solomon R. Guggenheim Museum, New York. © 2014 Artists Rights Society (ARS), New York/ADAGP, Paris.

The Cloud Rises: Vasily Kandinsky Before Abstraction


“This is the moment where Kandinsky’s blues, his reds, his yellows, are becoming nouns, objects, substances in their own right.”


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The Smokey Life: Ohad Meromi at Nathalie Karg


Ohad Meromi carries the proletarian banner into Nathalie Karg Gallery.


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Burning Inside: Passion, Politics, and Disruption at Paul Kasmin


Arson as a kind of avant-garde, reorganizing our experience of the exhibition space.


James Wolfe, Just Right, 2013. Powder Coated Steel, 32 x 32 x 14 inches. Courtesy of the Artist.

Fluttering like Flags, Swaying like Saplings: Sculptures of James Wolfe


On view at the New York Studio School through August 10


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Model as Mayhem: Franklin Evans pace Yve-Alain Bois


“…fashion or soft-core erotica are intermittently spaced around the gallery to form an underlayer of camp.”