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, November 3rd, 2008


Mary Heilmann: To Be Someone at the New Museum and Mary Heilmann: Some Pretty Colors at Zwirner & Wirth

Heilmann often seems be daring herself to do something truly “awful”—only to find beauty in it…The accumulated brushmarks and open drips make her act of painting transliterate into a kind of crime of passion.

Monday, November 3rd, 2008


Cora Cohen: Come in a Little Closer at Michael Steinberg

Cohen makes evident tribute to the shaping influences of artists such as Kline, de Kooning, Pollock, and Wols and yet, with seemingly equal force of curiosity explores her fascination with the humble, yet visibly rich, impossibly chaotic, anti-heroic marks and stains of life from street culture: the entropy of urbanism.

Saturday, November 1st, 2008


Abstract Expressionism: A World Elsewhere curated by David Anfam at Haunch of Venison

We need to understand properly the Americanness of Abstract Expressionism, without treating it either as a triumph of chauvinistic mythmaking or as an episode in the Cold War.

Saturday, November 1st, 2008


Ching Ho Cheng at Shepherd & Derom Galleries

One of the last methods Cheng used included metal that, once it oxidized, existed as a rough surface of rust whose compelling alchemy gave his audience a remarkable exterior to consider. The magic of these pieces results from contrasts in color as well as memorable differences in the finish of the paint and copper.

Friday, October 17th, 2008


Untitled (Vicarious): Photographing the Constructed Object at Gagosian Gallery

This adventurous photography survey, pairing historical and contemporary examples of sculptural construction and assemblage as subject matter, includes David Smith, László Moholy-Nagy, Peter Fischli & David Weiss, James Welling, Gregory Crewdson, Thomas Demand and Wolfgang Tillmans.

Wednesday, October 15th, 2008


Nick Miller: Truckscapes at the New York Studio School

Just as many Matisse drawings and paintings made in Nice in the 1920s and 30s incorporate a representation of himself making the work of art, so Miller includes images of his working space in his landscapes. The effect is to bring us into the working process.

Sunday, October 5th, 2008



Nightfall can inspire fascination with the starry sky, optimistic hopes for fulfilled sexual desire, or at least anticipation of sleep. But it can also cause anxiety if you are lonely, which is why van Gogh described The Night Café (1988), at MoMA, as showing a place where “dark forces lurked and suppressed human passions could suddenly explode.”

Sunday, October 5th, 2008


Cecily Brown at Gagosian Gallery

Was on view until October 25, 2008

Sunday, October 5th, 2008


Janet Malcolm: Burdock at Lori Bookstein Fine Art

Malcolm chooses to photograph leaves of the burdock plant because of its lowly status in the plant world – as a common weed that grows “along roadsides…and around derelict buildings” – and because of its literary status. She notes that Chekhov and Hawthorne have referenced it in their fiction to denote “ruin and desolation” and explains that she prefers “older, flawed leaves to young, unblemished specimens — leaves to which something has happened.”

Monday, September 29th, 2008


Rirkrit Tiravanija: Demonstration Drawings at the Drawing Center

There is a limited range of drawing styles, which tends to be competent enough but generally stilted, illustrative, and a bit nerdish. One wonders whether the difference in treatment that does come across is purely a matter of the individual draftsman’s hand or whether different speeds of movement in the scenes depicted — orderly placid drudging through dreary East European streets versus violent clashes with riot-geared police in some steamy tropical town — account for these differences.