Criticism
Monday, August 28th, 2017
 
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On view in Chelsea, extended to September 1 ...
Wednesday, August 9th, 2017
 
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Exuberant joy in the face of anguish; through September 10 ...
Tuesday, July 18th, 2017
 
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For Dumas, the question of extinction also points to violence against African-Americans ...
 

Saturday, March 1st, 2008

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The Artwork Caught by the Tail: Two on Francis Picabia from MIT


Francis Picabia and Dada in Paris by George Baker and I Am a Beautiful Monster: Poetry, Prose, and Provocation by Francis Picabia

Saturday, March 1st, 2008

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Diana Puntar: Lived Live Evil Devil at Oliver Kamm/5BE Gallery


Their biomorphic qualities are undermined by the fabrication process, but this increases the sense of otherness they generate. They suggest imaginary beings that are not the product of fantasy, but rather of imaginative speculation on the real but unknown.

Saturday, March 1st, 2008

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© MURAKAMI


The Geffen Contemporary at MOCA 152 North Central Avenue Los Angeles, CA 90013 October 29, 2007–February 11, 2008 The late 20th century art world had a bad conscience about high art which was vilified as serious, profound, mysterious, spiritual, elitist, pretentious, outmoded and labor-intensive. This led to infatuation with popular culture (silly, superficial, obvious, materialistic,…

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

Sunday, February 3rd, 2008

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Alan Saret at the Drawing Center, Richard Pousette-Dart at Knoedler


Physical gesture means the artist’s hand is present yet transcended: there is no question that the arcs or circles are handmade, but an unforced, lyrical all-overness creates a cosmic, suprapersonal sense of order and well-being.

Sunday, February 3rd, 2008

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Katy Grannan at Salon 94 Freemans and Greenberg Van Doren; Lina Bertucci at Perry Rubinstein


There is a pervasive ambivalence in Katy Grannan’s portraits: the gaze that returns the viewer’s is a mix of coyness and exhibitionism. The images themselves oscillate between similar extremes, building a visceral sense of the present through precision while succumbing to a remoteness that results from theatricality.

Friday, February 1st, 2008

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The Theatre of the Face: Portrait Photography Since 1900 by Max Kozloff


Published by Phaidon Press, 2007, www.phaidon.com 336 pages, 280 black & white photographs, 70 color photographs $69.95 When the findings of history, a discussion of uses and the reconstruction of story blend with criticism, portrait content, I hope, is enlivened. Still, the narratives within it keep on turning, like the expressions on faces, themselves… (p….

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.