Criticism
Friday, October 28th, 2016
 
Nathaniel Dorsky, Autumn, 2016. Silent 16mm color film, TRT: 26:00. Courtesy of the artist and New York Film Festival.
Two experimental filmmakers depict the world, using the methodology of poetry. ...
Wednesday, September 14th, 2016
 
rabinowitz_feature
The Israeli sculptor and video artist contends with physical manifestations of war and trauma. ...
Monday, September 12th, 2016
 
ruff_feature
Process and history are manipulated and explored through Ruff’s use of found photographs. ...
 

Monday, November 23rd, 2009

Wolfgang Laib, Installation view: Frieze of Life October 30 - December 5, 2009 Photo by Jason Wyche. Copyright the Artist, Courtesy Sean Kelly Gallery, New York

Wolfgang Laib: Frieze of Life at Sean Kelly Gallery


Laib sees his art as having a political dimension, in the sense that the production of cultural artifacts change people and institutions.

Thursday, November 19th, 2009

Pat Steir, Self-Portrait: Reprise 1987-2009. Wall Drawing, ink and chalk. Photo by Christopher Burke , Courtesy The New York Studio School

Pat Steir: Self-Portrait: Reprise 1987-2009 at the New York Studio School


Taking subjects from the raw materials for old master art, Steir transforms them in accord with her very contemporary sensibility.

Tuesday, November 3rd, 2009

Jack Pierson Her ancient solitary reign 2009. Metal, wood and plastic, 109 x 129 x 4-3/4 inches. Cover NOVEMBER 2009 ABSTRACT #10 2008. Metal and paint, 43 x 68 x 48 inches. Courtesy Cheim & Read.

Jack Pierson at Cheim & Read


We wonder what these signs used to say when they were part of something bigger—a word, a world.

Sunday, November 1st, 2009

Anish Kapoor, Memory 2008. Cor-Ten steel, 47 x 29 x 15 feet (approximate). Installation at the Solomon R. Guggenheim Museum, New York

Anish Kapoor’s “Memory”: A Tale of Two Cities


October 21, 2009—March 28, 2010 Solomon R. Guggenheim Museum 1071 Fifth Avenue (at 89th Street) New York City 212-423-3500 Anish Kapoor’s Memory, a 24-ton metallic blimp measuring approximately 47 x 29 x 15 feet overall, is imposing at a number of levels.  It requires the viewer to use his/her own memory to create an image…

Tuesday, October 27th, 2009

Dan Christensen, Dark Tulip 1970. Enamel and acrylic on canvas , 71 x 130 inches. Courtesy of Spanierman Modern

Dan Christensen (1942-2007): The Plaid Paintings at Spanierman Modern


Facture is neither painterly nor hard-edged geometric, but in between–straight edges that nonetheless exude life.

Saturday, October 24th, 2009

Nanon 2009. Reinforced clay on paintied MDF plinth, 73 x 33-1/2 x 25-3/4 inches. Courtesy Matthew Marks Gallery

Rebecca Warren: Feelings at Matthew Marks Gallery


She seems to be simultaneously poking fun at tradition and at the same time leveling a serious challenge against it, all the while acknowledging that she cannot simply reject her artistic heritage.

Thursday, October 8th, 2009

Jack Tworkov, Crossfield I 1968. Oil on canvas, 80 x 70 inches. Collection of Beatrice Perry, NY.

Jack Tworkov: Against Extremes – Five Decades of Painting at the UBS Art Gallery


Seldom has a better synthesis been achieved among raw power, exquisite color, and the organizing effects of line.

Thursday, October 8th, 2009

Elliott Green, Lemmonny Soap 2009. Oil on linen, 18 x 24 inches. Courtesy of D’Amelio Terras

Elliot Green: Personified Abstraction at D’Amelio Terras


Green’s current paintings supplant his earlier “limited animation” mock-mayhem with the saturated glazes and rendered anatomies of a Golden Age chipmunk fable.

Thursday, October 8th, 2009

Double Indian Yellow 2008. Acrylic on Canvas, 2 panels, 72 x 36 inches each. Courtesy of Walter Randel Gallery

Ted Kurahara: Portraits at Walter Randel Gallery


If we are hesitant to use a term so absolute as “the absolute,” we can, even so, acknowledge the extreme philosophical drive in Kurahara’s esthetic.

Wednesday, October 7th, 2009

Kara Walker, 10 Years Massacre (and its Retelling) #3 2009. Mixed media, cut paper and acrylic on gessoed panel, 84 x 72 inches. Courtesy of Sikkema Jenkins & Co., New York

Mark Bradford and Kara Walker at Sikkema Jenkins & Co.


To Walker and Bradford alike, density of visual information is an aesthetic choice that mirrors the mutliple layers of reality and complexity retrieved from subject matter.