Sunday, August 21st, 2016
A show of activist art from across Latin America. ...
Wednesday, July 27th, 2016
Twin surveys of Ader’s short but brightly burning career are mounted in New York and London. ...
Wednesday, July 27th, 2016
Twin surveys of Ader’s short but brightly burning career are mounted in London and New York. ...

Monday, March 9th, 2009


Bonnard: Drawing Color, Painting Light

For Bonnard drawing was sensation, and taking possession of the image. The next step was the translation of these notations into color, not local color, but the color that came from his interior logic.

Sunday, March 1st, 2009


Nancy Haynes: Dissolution at Elizabeth Harris Gallery

As one grasps the combination of flatness, space, and light in Haynes’ paintings, the subtleties of her sophisticated palette and tonal gradations reveal a seductive luminosity.

Sunday, March 1st, 2009


Francesca DiMattio at Salon 94 and Salon 94 Freemans

However closely she references classical, renaissance and modernist genres, her paintings never lapse into nostalgia, but instead give off an arch contemporary emotion.

Sunday, March 1st, 2009


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.

Sunday, March 1st, 2009


Oona Ratcliffe: Deep Forgetting at gallerynine5

March 6 to 24, 2009 24 Spring Street New York City, 212 965 9995 POETRY FOR ART presents newly published poetry (or poetry posted to the web for the first time) that relates, responds, or is dedicated to the work of a contemporary artist on display in New York or elsewhere at the time of…

Tuesday, February 24th, 2009


Joe Fyfe: Recent Work at James Graham & Sons

While Fyfe has worked with combining more traditional methods of painting with textile collages for years, it is through the overt focus on counterparts in this exhibition, contrasting the more serious with the playful and the reserved with the whimsical, that Fyfe reveals both the diversity of his artistic interests and the extent of expressive versatility he has reached in his work.

Monday, February 23rd, 2009


Artist’s Choice: Vik Muniz, Rebus at the Museum of Modern Art

“Rebus,” conceived and spearheaded by an artist, Brazilian conceptual trickster, Vik Muniz, made me re-think the current trend of curator-as-artist and made me see MoMA’s amazing collection in new ways (yes, that old cliché). Plus, it even made me laugh out loud.

Friday, February 20th, 2009


Life on Mars: The 55th Carnegie International at the Carnegie Museum of Art, Pittsburgh

Life on Mars shares a number of artists with Unmonumental, including Mark Bradford, Cao Fei, Thomas Hirschhorn, Matthew Monahan, Manfred Pernice, and Susan Philipsz. For a show of only 39 artists, that makes nearly a sixth. This is perhaps unsurprising considering the New Museum’s Eungie Joo served on the advisory committee for the 2008 International, but is rather suspect for a show that purports to be global in its representation. Suspect as well is that all but seven of the artists are from the US or Europe and only twelve are women.

Tuesday, February 17th, 2009


David Diao: “I lived there until I was 6…” at Postmasters

For decades, Diao has injected deeply personal, even confessional content onto the placid surfaces and into the untroubled spaces of Modernism by way of a formal vocabulary grounded in the conventions of presentation diagrams, plans, text. The new work retains its erstwhile formal elegance and restraint, but rueful humor is replaced by a seething emotional undertow stemming from the artist’s inherited memories of his family’s displacement and fragmentation at the hands of the Chinese government.

Monday, February 16th, 2009


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.