criticismExhibitions
Wednesday, August 9th, 2017
 
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Exuberant joy in the face of anguish; through September 10 ...
Tuesday, July 18th, 2017
 
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For Dumas, the question of extinction also points to violence against African-Americans ...
Tuesday, July 11th, 2017
 
Florine Stettheimer, Self-Portrait with Palette (Painter and Faun), ca. 1915, oil on canvas. Avery Architectural & Fine Arts Library, Columbia University, New York
“Painting as Poetry” on view through September 25 ...
 

Monday, November 23rd, 2009

Wolfgang Laib, Installation view: Frieze of Life October 30 - December 5, 2009 Photo by Jason Wyche. Copyright the Artist, Courtesy Sean Kelly Gallery, New York

Wolfgang Laib: Frieze of Life at Sean Kelly Gallery


Laib sees his art as having a political dimension, in the sense that the production of cultural artifacts change people and institutions.

Thursday, November 19th, 2009

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.

Sunday, November 1st, 2009

Anish Kapoor, Memory 2008. Cor-Ten steel, 47 x 29 x 15 feet (approximate). Installation at the Solomon R. Guggenheim Museum, New York

Anish Kapoor’s “Memory”: A Tale of Two Cities


October 21, 2009—March 28, 2010 Solomon R. Guggenheim Museum 1071 Fifth Avenue (at 89th Street) New York City 212-423-3500 Anish Kapoor’s Memory, a 24-ton metallic blimp measuring approximately 47 x 29 x 15 feet overall, is imposing at a number of levels.  It requires the viewer to use his/her own memory to create an image…

Sunday, November 1st, 2009

Jack Pierson, Her Ancient Solitary Reign, 2009. Metal, wood and plastic, 109 x 129 x 4-3/4 inches. Cover NOVEMBER 2009: ABSTRACT #10, 2008. Metal and paint, 43 x 68 x 48 inches. Courtesy Cheim & Read.

Jack Pierson: Abstracts at Cheim & Read


Jack Pierson at Cheim & Read

Tuesday, October 27th, 2009

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.

Saturday, October 24th, 2009

Nanon 2009. Reinforced clay on paintied MDF plinth, 73 x 33-1/2 x 25-3/4 inches. Courtesy Matthew Marks Gallery

Rebecca Warren: Feelings at Matthew Marks Gallery


She seems to be simultaneously poking fun at tradition and at the same time leveling a serious challenge against it, all the while acknowledging that she cannot simply reject her artistic heritage.

Thursday, October 8th, 2009

Jack Tworkov, Crossfield I 1968. Oil on canvas, 80 x 70 inches. Collection of Beatrice Perry, NY.

Jack Tworkov: Against Extremes – Five Decades of Painting at the UBS Art Gallery


Seldom has a better synthesis been achieved among raw power, exquisite color, and the organizing effects of line.

Thursday, October 8th, 2009

Elliott Green, Lemmonny Soap 2009. Oil on linen, 18 x 24 inches. Courtesy of D’Amelio Terras

Elliot Green: Personified Abstraction at D’Amelio Terras


Green’s current paintings supplant his earlier “limited animation” mock-mayhem with the saturated glazes and rendered anatomies of a Golden Age chipmunk fable.

Thursday, October 8th, 2009

Double Indian Yellow 2008. Acrylic on Canvas, 2 panels, 72 x 36 inches each. Courtesy of Walter Randel Gallery

Ted Kurahara: Portraits at Walter Randel Gallery


If we are hesitant to use a term so absolute as “the absolute,” we can, even so, acknowledge the extreme philosophical drive in Kurahara’s esthetic.

Wednesday, October 7th, 2009

Kara Walker, 10 Years Massacre (and its Retelling) #3 2009. Mixed media, cut paper and acrylic on gessoed panel, 84 x 72 inches. Courtesy of Sikkema Jenkins & Co., New York

Mark Bradford and Kara Walker at Sikkema Jenkins & Co.


To Walker and Bradford alike, density of visual information is an aesthetic choice that mirrors the mutliple layers of reality and complexity retrieved from subject matter.