Criticism
Thursday, May 17th, 2018
 
hi-cover
What’s allegory in Chinatown is reality in rural China, Robert C. Morgan argues ...
Wednesday, May 16th, 2018
 
An exhibition in two parts in London this winter ...
Wednesday, May 16th, 2018
 
A two-part show at Bookstein Projects and Steven Harvey Fine Art Projects ...
 

Sunday, June 1st, 2008

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Earning His Stripes: Kenneth Noland in the ‘60s


The forms in Noland’s paintings are usually dismissed as mere devices to enable him to explore color, but the lines and shapes of these paintings have a basis in the natural world as well. They add to the feelings of harmony and serenity that these paintings project, while titles like “Via Light” and “Via Shimmer” suggest Roman roads and air mail stickers, thus ideas of travel and motion and speed.

Sunday, June 1st, 2008

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Take your Time: Olafur Eliasson


The waterfalls promise to be impressive and quite the sensation, but they will also reveal Eliasson’s main strength – the skill to turn a generous gesture into a subjective experience, which even in a city of millions can be as personal as it will be communal.

Sunday, June 1st, 2008

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Delia Brown: Precious at D’Amelio Terras, Hilary Harness at Mary Boone


Hilary Harkness shares with Sade not just the pathology to which the Marquis lent his name but also an essential element of style — endless variation, at once exhilerating and enervating, upon an obsessive theme.

Sunday, June 1st, 2008

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Walton Ford at Paul Kasmin Gallery and Neo Rauch at David Zwirner Gallery


Neo Rauch is a prodigious talent. His canvases are lush with painterly dexterity, compelling characterization, and compositional intrigue. But, as with Walton Ford’s animal portraits, there is more about these costume dramas that transports viewers back to the amalgamated past they never knew — the very definition of nostalgia — than truly puts them in touch with a sense of being here and now.

Sunday, May 25th, 2008

Frank Selby: We Weren’t Never Here


Uncovering a sense of presence through an implied absence, these drawings and paintings explore a peculiar, discontinuous narrative.

Thursday, May 1st, 2008

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Art Power by Boris Groys


Using few footnotes, this collection of Boris Groys’s essays offers a compulsively original account of contemporary art and the political systems that support it. Educated in the former USSR, now a professor in Germany who also teaches at NYU, he brings to contemporary art theory a highly original perspective. Groys discusses fundamental topics: the nature…

Thursday, May 1st, 2008

Norman Bluhm, Untitled Drawing #3, 1984. Acrylic and pastel on paper, 49-1/2 x 60 inches. Courtesy James Graham & Sons.

Norman Bluhm: Large Scale Works on Paper


Norman Bluhm at James Graham & Sons

Wednesday, April 16th, 2008

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Thomas Nozkowski at PaceWildenstein


Even an astute connoisseur would be hard pressed to locate specific Nozkowskian tropes. There are some recurring motifs, but internal scale, texture, and mood present themselves in different coordinates. This is the more remarkable because Mr. Nozkowski’s modus operandi is so prescribed in terms of scale, medium, taste, and authentic touch.

Friday, April 11th, 2008

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James Siena at PaceWildenstein


The experience in this richly diverse exhibition is not of transition so much as consolidation: the new works, whether big loopy abstractions in fat confident brushstrokes or weirdo figuration, seem legitimate outgrowths of the precious, tight, miniaturist Siena of old.

Friday, April 11th, 2008

Franz West, Untitled, 2007. Papier-maché, styrofoam, epoxy resin, lacquer, metal, 114-1/4 x 39-3/8 inches. Courtesy Gagosian Gallery, © Franz West.

Franz West: Paßstück


Franz West at Gagosian Gallery