Wednesday, September 14th, 2016
The Israeli sculptor and video artist contends with physical manifestations of war and trauma. ...
Monday, September 12th, 2016
Process and history are manipulated and explored through Ruff’s use of found photographs. ...
Friday, September 9th, 2016
Is he a trickster, or a Warholian innovator? What’s the difference? ...

Sunday, March 25th, 2007


Larry Poons at Danese

until March 17 535 West 24th Street 6th Floor, between Tenth and Eleventh Avenues, 212 223 2227 A version of this article first appeared in the New York Sun, March 15, 2007 The oeuvre of Larry Poons represents a case of painterly bipolarity.  It is hard to think of an artist who veers towards such extremes…

Thursday, March 8th, 2007


Eve Aschheim at Lori Bookstein Fine Art and Paul Pagk at Moti Hasson Gallery

Something about abstract painting attracts dogmatic criticism. Figurative painting is understood to belong to millenia-long traditions in which so much is possible that a degree of pluralism is inevitable. And yet, despite abstract painting’s rich 100-year history, with roots deep into visual culture beyond that brisk century, its champions still fall for the habit of…

Thursday, March 1st, 2007


Michele Russman: Sculpture and Mark Nelson: Sound

The Koehnline Museum 1600 Golf Road. De Plaines, IL 847-635-2633. December 14 2006 – January 26, 2007 During the Modernist era many serious women artists were often excluded from art world consideration:  it was not until the Feminist movement of the 70’s that sculptors like Louise Bourgeious and Ruth Duckworth, who began their careers in the…

Thursday, March 1st, 2007


Time, Truth and History – El Greco to Picasso

Solomon R. Guggenheim Museum 1071 Fifth Avenue at 89th Street New York City 212 423 3500 November 17, 2006 to March 28, 2007 What to think of yet another in the procession of general surveys the Guggenheim has served up?  In 2000, the late, great Robert Rosenblum presented the 1900 show as an expansive index that…

Thursday, March 1st, 2007


Developing an Eye for Color: Albers, Judd and Oursler

We think there is a clue in Oursler’s work that provides us with a deeper insight into the nature of the relationship involved in the Albers-Judd pairings. This is a rather surprising state of affairs given that Oursler’s grotesque sculptures are hardly known for their imaginative use of color.

Thursday, March 1st, 2007


Melissa Meyer in Black and White: Works on paper, 1984-1994

New York Studio School 8 West 8 Street New York City 212 673 6466 December 14, 2006 to February 3, 2007 traveling to the Wiegand Gallery of Notre Dame of Namur University January 20 to March 3, 2008 What is it to exhibit the black and white works on paper of Melissa Meyer made between…

Thursday, March 1st, 2007


Andrew Krasnow: Of The Flesh ~ Skin Works 1990-2005

ADM PROJECT 6015 Santa Monica Blvd Los Angeles, CA  90038 323.467.7967 October 27th – February 3rd 2007 By TOBEY CROCKETT Andrew Krasnow’s retrospective exhibition, “Of The Flesh: Skin Works 1990-2005” at  ADM Project in Hollywood is an extraordinary exhibition, by almost any standard.  While the show also includes part of an older film depicting the…

Thursday, March 1st, 2007


Alan Davie: Mystic Visions

The Scottish-born painter Alan Davie turns 87 this year. He has been called one of Britain’s most significant living artists and one of its most famous beatniks. He wears a bushy, long white beard and is an accomplished jazz musician as well as a poet. Davie made a splash in the New York art scene…

Thursday, February 15th, 2007


High Times, Hard Times: New York Painting, 1967-1975

Exhibition curated by Katy Siegel with David Reed

Sunday, February 4th, 2007


Andrew Forge at Betty Cuningham Gallery

Until February 17 541 W. 25th St., between Tenth and Eleventh avenues, 212-242-2772 Andrew Forge (1923–2002) was the author of shimmering abstract paintings of intense chromatic lyricism. His canvases are constructed from an even layer of closely woven, abutting colored dots, a kind of modernist update of Georges Seurat’s pointillism. His second notational device, a…