Criticism
Wednesday, January 20th, 2016
 
Joseph Mallord William Turner, Depositing of John Bellini’s Three Pictures in La Chiesa Redentore, Venice, 1841. Oil on canvas, 29 x 45 1/2 inches. Courtesy of the Paul G. Allen Family Collection.
A traveling exhibition presents the changing way artists have approached nature over the past half millennium. ...
Tuesday, January 19th, 2016
 
Joan Tanner, endofred #3, 2015. Oil stick, metallic powder, ballpoint pen and chalk on Bristol paper, 22 x 30 inches. Courtesy of the artist and Locks Gallery.
on view at Locks Gallery, Philadelphia, through January 30. ...
Monday, January 18th, 2016
 
A show of new and old work by the English sculptor illuminates the natural world. ...
 

Thursday, November 6th, 2008

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Baker Overstreet: Follies at Fredericks & Freiser


Hints of past layers visible beneath the surface are the only counterpunch to a solid machine that affords little room for speculation beyond its shiny and seductive design. The label of “primitive” given to Overstreet and many of his peers in contemporary abstract painting belies a highly stylized, self-conscious approach to image construction.

Monday, November 3rd, 2008

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Mary Heilmann: To Be Someone at the New Museum and Mary Heilmann: Some Pretty Colors at Zwirner & Wirth


Heilmann often seems be daring herself to do something truly “awful”—only to find beauty in it…The accumulated brushmarks and open drips make her act of painting transliterate into a kind of crime of passion.

Monday, November 3rd, 2008

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Cora Cohen: Come in a Little Closer at Michael Steinberg


Cohen makes evident tribute to the shaping influences of artists such as Kline, de Kooning, Pollock, and Wols and yet, with seemingly equal force of curiosity explores her fascination with the humble, yet visibly rich, impossibly chaotic, anti-heroic marks and stains of life from street culture: the entropy of urbanism.

Saturday, November 1st, 2008

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Antonie’s Alphabet: Watteau and His World by Jed Perl


I enjoyed every word of this beautifully composed book, a virtuoso performance by a writer at the top of his form, who almost never fails to be totally engaging.

Saturday, November 1st, 2008

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Paintings in Proust: A Visual Companion to “In Search of Lost Time” by Eric Karpeles


Thanks to the very fully annotated correspondence, in 38 volumes, we know a great deal about Marcel Proust’s tastes in visual art. When young he frequented the Louvre, went to the Low Countries and, under the spell of John Ruskin, traveled to see France’s medieval churches. He devoted long essays to Gustave Moreau and Monet,…

Saturday, November 1st, 2008

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Abstract Expressionism: A World Elsewhere curated by David Anfam at Haunch of Venison


We need to understand properly the Americanness of Abstract Expressionism, without treating it either as a triumph of chauvinistic mythmaking or as an episode in the Cold War.

Saturday, November 1st, 2008

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Ching Ho Cheng at Shepherd & Derom Galleries


One of the last methods Cheng used included metal that, once it oxidized, existed as a rough surface of rust whose compelling alchemy gave his audience a remarkable exterior to consider. The magic of these pieces results from contrasts in color as well as memorable differences in the finish of the paint and copper.

Friday, October 17th, 2008

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Untitled (Vicarious): Photographing the Constructed Object at Gagosian Gallery


This adventurous photography survey, pairing historical and contemporary examples of sculptural construction and assemblage as subject matter, includes David Smith, László Moholy-Nagy, Peter Fischli & David Weiss, James Welling, Gregory Crewdson, Thomas Demand and Wolfgang Tillmans.

Wednesday, October 15th, 2008

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Nick Miller: Truckscapes at the New York Studio School


Just as many Matisse drawings and paintings made in Nice in the 1920s and 30s incorporate a representation of himself making the work of art, so Miller includes images of his working space in his landscapes. The effect is to bring us into the working process.

Tuesday, October 14th, 2008

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Bridget Riley and Peter Doig at the Musée d’art moderne de la ville de Paris


In his first dispatch from Paris, Mick Finch ponders simultaneous shows of two artists, Bridget Riley and Peter Doig, both active in Britain but from different generations, whose contrastive relations to Post-Impressionism proved instructive.