Criticism
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. ...
Friday, September 9th, 2016
 
pruitt_feature
Is he a trickster, or a Warholian innovator? What’s the difference? ...
 

Tuesday, September 1st, 2009

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The Painter Sam Francis, a film by Jeffrey Perkins


‘The Painter Sam Francis’ 85 minutes Shot on 16mm, Super 8, Hi-8, DV ©2008 Body and Soul Productions Showing at Anthology Film Archives, New York, through September 17 The film biography “The Painter Sam Francis” might be better called “What Happened to Sam Francis?” It reinforces all the standard cliché’s of the outsized artist’s life….

Monday, August 24th, 2009

detail of Orange Fizz 2008. Elmer's glue & ink on panel, 36 x 72 inches. Courtesy of Margaret Thatcher Projects.

Heidi Van Wieren at Margaret Thatcher Projects


The consequences of Van Wieren’s style allow for simultaneous readings of her art.

Sunday, August 16th, 2009

Installation view of the exhibition under review show, foreground, Hanne Darboven 100 Books 00–99. 1970. One hundred books, 365 or 366 pages each, offset printed, each 10 15/16 x 8 7/16 x 1 7/16 inches. Collection of the Artist, and Lawrence Weinerr IN AND OUT. OUT AND IN. AND IN AND OUT. AND OUT AND IN. 1971. lettering, dimensions variable. Collection Ghislain Mollet-Viéville, MAMCO, Geneva. © 2009 Lawrence Weiner/Artists Rights Society (ARS), New York. Photograph: Jason Mandella

In & Out of Amsterdam at the Museum of Modern Art


As these mercurial installations, films, and performances indicate, Conceptual art often yielded works of great elegance in novel forms of presentation.

Saturday, August 8th, 2009

James Ensor Skeletons Fighting Over a Pickled Herring 1891. Oil on panel, 6-1/2 x 8-1/2 inches. Musées royaux des Beaux Arts de Belgique, Brussels. All images, © 2009 Artists Rights Society (ARS), New York / SABAM, Brussels

James Ensor at the Museum of Modern Art


The skulls, which appear early on in his work, are more than momento mori. On the beach, where over 130,000 Flemish were massacred by the Spanish in the 17th Century, skulls were as common as driftwood.

Saturday, August 1st, 2009

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Ann Stokes: Artists’ Potter, edited by Tanya Harrod


Some artists change the way that you understand art history. Ann changed the way that I and many other people understood everyday life.

Saturday, August 1st, 2009

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Books in Brief


NAMIES AND NEWBIES: THE KRAMARSKY COLLECTION 560 Broadway A New York Drawing Collection at Work 1991-2006, edited by Amy Eshoo, with contributions by Derrick R.Cartwright, James Cuno, Elizabeth Finch, Josef Helfenstein, Glenn D. Lowry, David Mickenberg, Ann Philbin, Earl A. Powell III, Jock Reynolds, and Townsend Wolfe.  Fifth Floor Foundation in Association with Yale University Press,…

Saturday, August 1st, 2009

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Provenance: How a Con Man and a Forger Rewrote the History of Modern Art by Laney Salisbury & Aly Sujo


One of art historian Leo Steinberg’s hobby horses  is the way the literature of art generates interpretations that are autonomous of the images being described.  What is written about a work can spin false leads and confused trails that looking directly at the work ought to dispel.  Just as this happens with the historical interpretation of…

Thursday, July 9th, 2009

Dorsal Fin 2009. Oil on panel, 11.81 x 7.87 inches. Images courtesy of Marc Jancou Contemporary

Ross Chisholm at Marc Jancou Contemporary


The background shadows throb with an almost Goya-esque expressionism. Maybe the matron is escaping into a sci-fi film. Maybe she’s wandering through the forbidden recesses of memory itself.

Friday, July 3rd, 2009

Qigu Jiang Figure A 2008. Ink on rice paper, 16 x 12 feet. Courtesy Koehnline Museum.

Ink Paintings by Qigu Jiang: Figures at The Koehnline Museum


Jiang’s work is philosophy in motion: Essence of line and essence of modern truth are his constant themes.

Wednesday, July 1st, 2009

Wang Guangyi, Great Criticism: Andy Warhol 2002. Oil on canvas, 300 x 200 cm.

Nine Lives: The Birth of Avant-Garde Art in New China by Karen Smith; and Ai WeiWei by Karen Smith, Hans Ulrich Obrisi, Bernard Fibicher


It may seem odd to locate the birth of the Chinese avant-garde so close to the present, for in the West that period style label is associated with the late 19th Century, but in the early 1980s, China was emerging from a long period of being effectively cut off from the outside world.