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

Friday, December 12th, 2008

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.

Tuesday, December 9th, 2008

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Lorna Simpson: Ink at Salon 94 and Salon 94 Freemans


The tensions between intimate and public, between information and interpretation, in Simpson’s drawings of women’s hair take on a different meaning in a second body of work in what the artist calls the “orchestrated theatrical disaster” of war.

Thursday, December 4th, 2008

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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

Thursday, December 4th, 2008

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The Unknown Blakelock at the National Academy Museum


In addition to his spontaneous brushstrokes, Blakelock explores a decalcomania-like technique of load, press, smear, and lift. This emphatically material-based process creates a raised, textural web of paint activity with a few scattered reds, oranges and yellows flecking a surface that is eerily similar to Jackson Pollock’s and as interesting to ponder.

Thursday, December 4th, 2008

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Zero in NY at Sperone Westwater Gallery


Working outside the gallery system, these artists made single-evening exhibitions, often in their own studios, issuing manifestos with these events. While some artists involved with Zero, like Lucio Fontana, are well recognized in America, this is the first survey of the lesser-known group in the States.

Monday, December 1st, 2008

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Max Weber: Paintings from the 1930s, 40s, and 50s at Gerald Peters Gallery


Woman Holding Tablet (1946) pleasingly and convincingly locates a seated figure within a geometric environment, with ochre tints and warm blacks set deftly against notes of bright coral and medium blue. The rather strenuous engineering of the pose and surroundings, however, give the impression of an exercise – a demonstration of the plastic re-creation of a generic event.

Monday, December 1st, 2008

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Alexi Worth at D.C. Moore


The grainy, opaque paint surfaces and austere earth palette bespeak an unfashionably non-ironic desire to produce ‘quality’ paintings. And there are learned references and quotations from art history and photography.

Friday, November 28th, 2008

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Hilary Brace: Recent Drawings at Edward Thorp Gallery


At first the eye is fooled – one thinks one is looking at silvery photographs of sublime cloudscapes shot from an airplane above an uninhabited wilderness. Closer examination reveals the patient, expert mark of the hand, as well as an improvisatory richness of imagination that, while consistently illusionistic, is decidedly otherworldly.

Friday, November 28th, 2008

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Daniel Hesidence: 1779 / Pedestrians at Feature Inc


The artist softens his vigorous brushwork using a blending brush, a staple of the realist painter’s tool kit, relying too heavily on an admixture of white to sidestep the chromatic muddiness that would otherwise ensue. In places this unexpected technique imparts a smeary appearance, while elsewhere the forms are so hairy-looking you want to take a big comb to them.

Wednesday, November 19th, 2008

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Liza Lou at L&M Arts


We all know that beautiful artifacts are grand commodities, and so have to be carefully guarded. But by making her sculptures beautiful and menacing, both at the same time, Lou brings home that contradiction.