criticismExhibitions
Friday, January 6th, 2017
 
KarinSchneider_feature
Cannibalization is a creative act in the artist’s recent show of new text-based and reductivist work. ...
Sunday, August 21st, 2016
 
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A show of activist art from across Latin America. ...
Wednesday, July 27th, 2016
 
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Twin surveys of Ader’s short but brightly burning career are mounted in New York and London. ...
 

Tuesday, January 27th, 2009

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Matt Mullican: A Drawing Translates the Way of Thinking at The Drawing Center


When Mullican asserts in writing that the “preoccupation with materials and processes seems to clutter up the phenomenon of what interests me,” he is making it clear to us that no individual person or thing can contain the entirety of that which engages him. Thus the artist reworks appearances as a means of describing the gestalt that both energizes and evades his hand.

Monday, January 26th, 2009

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R. H. Quaytman: chapter 12: iamb at Miguel Abreu Gallery


Quaytman works in a mode of painting/silkscreen hybrid, an at once middle-brow and mass-produced liminal form that is ideologically adrift between the elite and the unique in a way that recalls Warhol. The show quietly crackles with ideas about production; perception and legibility; the nature of the “image;” and the play between painterly and photographic values.

Wednesday, December 24th, 2008

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Marlene Dumas at MoMA and Elizabeth Peyton at the New Museum


Dumas and Peyton are united in their limitations as well as their strengths—and, arguably, in their capacity to ensure that their limitations are strengths. Dumas’s photo-dependency gives her imagery political edge. Denial of sensory depth almost punishes viewers for yearning for it, reminding them of the urgencies of injustice and exploitation that this art – and their consciences – should be addressing. Peyton’s style wallows in its own patheticism, as if cloying, ephemeral, illustration-technique are symptoms of self-pity. Such knowingly retarded means sit perfectly with the basically adolescent emotion she taps, which is that of star-struck infatuation.

Monday, December 22nd, 2008

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Magdalena Abakanowicz: The Reality of Dreams at Mary and Leigh Block Museum of Art, Northwestern University


These monumental drawings consist of interwoven lines made with charcoal or gouache that tangle and bind together to form strange organic beings. Forms allude to a tree trunk, a human torso, a flower, or an insect; they explore the ambivalence between nature’s capacity to produce the mysterious pulsating of life which is simultaneously haunted by the treachery of death.

Friday, December 19th, 2008

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William Tillyer: The Cadiz Caprices at Jacobson Howard Gallery


There are few abstract painters at work today who manage to push both metaphor and literalism so hard, simultaneously, as William Tillyer.

Sunday, December 14th, 2008

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Landscapes Clear and Radiant: The Art of Wang Hui at the Metropolitan Museum of Art


The attractiveness of the towering, tree covered mountains in Landscape after Wang Meng’s “Travelers amid Autumn Mountains” is self-evident. But if you cannot also see how this is a copy of a fourteen century imitation of Dong Yuan’s 10th century Travelers amid Autumn Mountains, then who knows what you are missing.

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.