We still have much to learn about California’s cool recasting of New York’s cold Minimalism, but these shows provide a good place to start.
Once the complexity of the paintings’ under-layers have revealed themselves, we are in a position to appreciate the way in which these paintings offer up to us a visual metaphor of their own making.
Pesce freeze’s the moment, Carroll celebrates transience, and together they create a deeply meaningful and thoughtful dialogue.
Taaffe’s pure decorativeness nevertheless embraces, almost as fetish, the visible husks of signs.
Even in less jovial days of January, whiteness continues to command powerful associations.
Dibenedetto, Siena and Ross have defined an architectural endoskeleton within the body of the biomorph.
Shrouding the armature with photo-tattooed fabric tilts two-dimensional surfaces towards the third dimension, but there is constant flickering or vacillation between the two kinds of space.
Throughout the show we are taken on a journey through the predominant narrative of 1960s art history, as told by the institution that has dictated modern art as we know it.
This first major museum retrospective of Mexican Gabriel Orozco has been viewed as controversial, and not entirely for reasons of taste.
Austere, calming, provocative, aggressive, confronting, soothing, luring, denying – these are some of the adjectives that can be applied to Richter’s new paintings.