Criticism
Tuesday, May 19th, 2015
 
Joan Semmel, Purple Diagonal, 980. Oil on canvas, 78 x 104 inches. Courtesy of the artist and Alexander Gray Associates.
Two concurrent exhibitions by women painters, about the body, its love, and labors. ...
Friday, May 8th, 2015
 
Etel Adnan, Untitled, 2014. Oil on canvas, 13 x 16.1 inches. Courtesy of the artist and Galerie Lelong.
New work by the poet and painter, reviewed by one of artcritical’s poet-critics. ...
Thursday, May 7th, 2015
 
Philip-Lorca diCorcia, Cain and Abel, 2013. Inkjet print, 39 1/2 x 49 inches. Courtesy of the artist and David Zwirner Gallery.
The photographer’s new series connects the financial crisis to biblical narratives of guilt and redemption. ...
 

Sunday, April 1st, 2007

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The linear and the painterly: How art today uses its traditions


Saul Steinberg at the Morgan Library, Merlin James at the Studio School

Sunday, April 1st, 2007

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Justin Lieberman: Agency (Open House)


Zach Feuer Gallery 530 West 24th Street New York City 212-989-7720 January 11 to February 24, 2007 Historically speaking, the emphasis on written language in works of visual art, whether it is done in a mocking, disruptive, or sculptural way, introduced a level of criticality that was not there before. If a visual artist decides…

Sunday, April 1st, 2007

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About Borromi: Prints and Drawings by Deborah Rosenthal


The Bowery Gallery 530 West 25th Street, 4th flr, New York City 646-230-6655 February 27 to March 24, 2007 “About Borromini,” an exhibition of prints and drawings by Deborah Rosenthal and text by Jed Perl, had an almost curative feel to it. To look at these pieces and to read the accompanying prose was like…

Sunday, April 1st, 2007

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Gordon Senior: Standing on Earth


Truckee Meadows Community College 7000 Dandini Blvd Reno, Nevada 89512-3999 775 673 7000 March 5 to 30, 2007 A number of works address the preparation and the journey itself. These include most notably Conversation, which consists of eight tower-like structures surmounted by clay or bronze animals, mostly crows and hares. On one level, that of…

Sunday, March 25th, 2007

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Robert Mangold at PaceWildenstein, Mark Grotjahn at Anton Kern, Joe Fyfe at James Graham & Sons


ROBERT MANGOLD: COLUMN STRUCTURE PAINTINGS PaceWildenstein until March 10 (545 W22nd Street between 10 and 11 Avenues, 212 989 4263) MARK GROTJAHN; BLUE PAINTINTS LIGHT TO DARK ONE THROUGH TEN Anton Kern until February 28 (532 W20th Street between 10 and 11 Avenues, 212 367 9663) JOE FYFE James Graham until March 10 (1014 Madison…

Sunday, March 25th, 2007

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Larry Poons at Danese


until March 17 535 West 24th Street 6th Floor, between Tenth and Eleventh Avenues, 212 223 2227 A version of this article first appeared in the New York Sun, March 15, 2007 The oeuvre of Larry Poons represents a case of painterly bipolarity.  It is hard to think of an artist who veers towards such extremes…

Thursday, March 8th, 2007

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Eve Aschheim at Lori Bookstein Fine Art and Paul Pagk at Moti Hasson Gallery


Something about abstract painting attracts dogmatic criticism. Figurative painting is understood to belong to millenia-long traditions in which so much is possible that a degree of pluralism is inevitable. And yet, despite abstract painting’s rich 100-year history, with roots deep into visual culture beyond that brisk century, its champions still fall for the habit of…

Thursday, March 1st, 2007

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Michele Russman: Sculpture and Mark Nelson: Sound


The Koehnline Museum 1600 Golf Road. De Plaines, IL 847-635-2633. December 14 2006 – January 26, 2007 During the Modernist era many serious women artists were often excluded from art world consideration:  it was not until the Feminist movement of the 70’s that sculptors like Louise Bourgeious and Ruth Duckworth, who began their careers in the…

Thursday, March 1st, 2007

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Time, Truth and History – El Greco to Picasso


Solomon R. Guggenheim Museum 1071 Fifth Avenue at 89th Street New York City 212 423 3500 November 17, 2006 to March 28, 2007 What to think of yet another in the procession of general surveys the Guggenheim has served up?  In 2000, the late, great Robert Rosenblum presented the 1900 show as an expansive index that…

Thursday, March 1st, 2007

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Developing an Eye for Color: Albers, Judd and Oursler


We think there is a clue in Oursler’s work that provides us with a deeper insight into the nature of the relationship involved in the Albers-Judd pairings. This is a rather surprising state of affairs given that Oursler’s grotesque sculptures are hardly known for their imaginative use of color.