Criticism
 
These paintings convey nature’s immensity even as they mangle its topography. ...
 
click to enlarge
Richard Phillips: Negation of the Universe from Rizzoli ...
 
Munro Galloway, 65” x 47.5” (What We Talk About When We Talk About Donuts), 2014. Oil, acrylic and inkjet on canvas, 65 x 47 1/2 inches. Photograph by John Berens,  courtesy of the artist and Soloway Gallery.
Galloway show’s his head-hand coordination. ...
 


Vasily Kandinsky, Singer (Sängerin), 1903. Woodcut on Japanese paper, mounted on paper, 35.9 x 24.8 cm. Solomon R. Guggenheim Museum, New York. © 2014 Artists Rights Society (ARS), New York/ADAGP, Paris.

The Cloud Rises: Vasily Kandinsky Before Abstraction


“This is the moment where Kandinsky’s blues, his reds, his yellows, are becoming nouns, objects, substances in their own right.”


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The Smokey Life: Ohad Meromi at Nathalie Karg


Ohad Meromi carries the proletarian banner into Nathalie Karg Gallery.


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Burning Inside: Passion, Politics, and Disruption at Paul Kasmin


Arson as a kind of avant-garde, reorganizing our experience of the exhibition space.


James Wolfe, Just Right, 2013. Powder Coated Steel, 32 x 32 x 14 inches. Courtesy of the Artist.

Fluttering like Flags, Swaying like Saplings: Sculptures of James Wolfe


On view at the New York Studio School through August 10


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Model as Mayhem: Franklin Evans pace Yve-Alain Bois


“…fashion or soft-core erotica are intermittently spaced around the gallery to form an underlayer of camp.”


Installation shot of the exhibition under review with David Brody's untitled 2014 sculpture suspended from the ceiling. Courtesy of Pierogi

“Leave Me All On Fire”: David Brody at the Boiler


A drawing animation, absolutely flat and yet 3-D at the same time


Minoru Yamasaki, Model of the World Trade Center, ca. 1964. Mixed media. Photograph by Jin Lee P, courtesy of the 9/11 Memorial Museum.

In The Shadow of Loss, Make the World New Again: The 9/11 Memorial Museum


The new 9/11 Memorial Museum encourages misery, which might be its necessity.


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Eco-Formalism: Maya Lin at the Parrish Art Museum


Lin’s ecological concerns are apparent, but are they persuasive?


Anders Zorn, After the Bath, 1895. Oil on canvas, 21 x 14 inches. National Museum, Stockholm

“To steal its secret and beauty”: Anders Zorn, Sweden’s Underrated Master of Naturalism


Major monograph is from Rizzoli


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Multiple Layers of Significance: Mike Kelley at LA MoCA


The final stage of a two year retrospective is a prodigious homecoming.