criticismExhibitions
Wednesday, May 10th, 2017
 
Mimmo Rotella, TAL, 1957, Décollage on canvas, 12 7/8 x 14 1/4 inches. Image courtesy of the gallery.
selected early works were on view uptown ...
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. ...
 

Sunday, March 30th, 2008

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Ruth Root


For an abstract painter of her generation, the older distinctions between figurative and abstract art, or between politically critical art and the consumer products of mass culture cease to have much importance. Perhaps that is why her essentially cheerful art shows no signs of th angst which inspired so many of the pioneering Abstract Expressionists.

Sunday, March 30th, 2008

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Fay Ku


Like Henry Darger, Ku refers to a mindset populated by children who undermine confidence in the world as it is. She presents disturbing tableaux, meditations on transgressions that make no sense, that seem to come out of nowhere.

Thursday, March 20th, 2008

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Sean McCarthy: I Think of Demons


McCarthy’s chimerical hybrid creations are sphinx-like. Mysterious and inscrutable, their individual characteristics undermine any symbolic reading. They are rooted in the real world, but also convey a complete sense of otherness.

Monday, March 3rd, 2008

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Bingyi Huang at Max Protetch


Given Huang’s indirectness, we experience the scene as if imbued with symbolist forms, which reveal their meaning only fleetingly. Yet the painting does not feel deliberately obscure, but rather poses the question, How much must be revealed before the images makes narrative sense?

Saturday, March 1st, 2008

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Rackstraw Downes at Betty Cuningham and Greg Lindquist at Elizabeth Harris


Downes paintings reflect a unique combination of aggressive conception and passive elaboration. Fervent perceptions of space enliven their broad outlines; details follow, filling in the story of each site exactly “as is.” Colors add atmosphere and light.

Thursday, February 7th, 2008

William Kentridge, What Will Come, 2007. Courtesy of Marian Goodman Gallery

A Surfeit of Genius: William Kentridge at Marian Goodman Gallery


Seeing Double is packed with elaborations of his trademark idiom: imagery transmogrified

Tuesday, January 22nd, 2008

Alberto Burri, Nero cretto (Black Cretto), 1976. Acrylic and PVA on Celotex, 147.3 x 246.5 cm. On view at the Solomon R. Guggenheim Museum, New York, in their exhibition, Alberto Burri: The Trauma of Painting. Private collection, courtesy Luxembourg & Dayan

Alberto Burri at Mitchell-Innes & Nash


As Burri’s retrospective continues at the Guggenheim through January 6, a review from 2008

Tuesday, January 22nd, 2008

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Ariane Lopez-Huici: Photography


Lopez-Huici acknowledges the mythic power of the Venus of Willendorf, that of the earth mother and other myths of femininity, as she de-mystifies them through her subjects’ specificity and ambient humanity.

Sunday, December 23rd, 2007

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The Panza Collection: An Experience of Color and Light


As the skies become grey, the sunlight becomes scarce, and the air becomes frigid, we find in snowy Buffalo at the Albright-Knox, a respite for all of this, an oasis of color and light.

Tuesday, December 11th, 2007

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Painting Then For Now; Fragments of Tiepolo at the Ca’ Dolfin


When these three Tiepolos at the Met were removed from the main salon of Ca’Dolfin, the intended site-specific lighting effects were lost. But Alpers, Hyde and Kulok recreate the way that, to quote Alpers and Baxandall, “the world, on Tiepolo’s account, presents a conundrum and his painting makes us conscious of having to work to make things out.”