Like some earlier Guggenheim exhibitions, Mark Rosenthal’s 1996 splendid, mindless history of abstraction and the more recent survey Russia! are two examples, The Third Mind presents much great art without a convincing visual premise.
Although the architecture’s physical decay reflects its economic uselessness, such romantic titles as The Guardian of the Valley and Mountain of Nostalgia lend emotional value to these dour and severe scenes. These paintings speak to the failed utopian ideas in Communism.
What most truly characterizes Bush’s mature work is a seriousness, even a gravitas that amounts to a truly Olympian detachment.
Commensurate with their disconcerting depth, Kossoff’s early paintings are literally and metaphorically heavy. The defiant sweeps of brush resemble nothing so much as tire tracks on a sodden road.
For Bonnard drawing was sensation, and taking possession of the image. The next step was the translation of these notations into color, not local color, but the color that came from his interior logic.
As one grasps the combination of flatness, space, and light in Haynes’ paintings, the subtleties of her sophisticated palette and tonal gradations reveal a seductive luminosity.
However closely she references classical, renaissance and modernist genres, her paintings never lapse into nostalgia, but instead give off an arch contemporary emotion.
In Julian Schnabel’s film Basquiat, the title character, exemplar of the flameout credo of the East Village, is assisting an artist-installer at the Mary Boone Gallery. This mediocrity, played by Willem Da Foe, attempts to counsel the hero about the benefits of a reliable day job. Basquiat replies that someday he would show on those very…
Visiting San Antonio, Texas for Marcia Gygli King’s mutli-venue retrospective, ALISON HEARST discovered a robust art community of involved participants and high-caliber work.
The painter Barkley L. Hendricks caught not only the mood, but also the dress of black Americans in the late 1960s and early 1970s. Indeed, the subhead of the Studio Museum’s exhibition, “Birth of the Cool,” gives the nod to the development of a style whose casual hipness and intimated militancy marked a generation of African Americans.