Criticism
Wednesday, April 27th, 2016
 
RVD_2840
Interaction and collaboration build and use community at LA’s artist-run spaces. ...
Monday, April 25th, 2016
 
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The collagist and gallerist presents “Totems & Cantos” in Portland, OR. ...
Tuesday, April 19th, 2016
 
agenda
A short show of heavy materials and tough, beautiful artworks. ...
 

Sunday, February 1st, 2009

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Figures du corps – une leçon d’anatomie aux Beaux-arts at the École nationale supérieure des beaux-arts de Paris


21 october 2008 – 4 january 2009 Galeries du quai 13, quai Malaquais, 75506 Paris Telephone: 01 47 03 50 00 Figures du corps was a rare insight into the archive of one of the most significant art schools in the world.  The anatomy collection of École nationale supérieure des beaux-arts de Paris is an…

Wednesday, January 28th, 2009

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Stanley William Hayter in America: Paintings, Drawings and Prints, 1940-1950 at Francis M. Naumann Fine Art


Naumann has had the courage and good taste to break the medium barrier between Hayter’s experiments in printmaking, drawing and painting by presenting his work chronologically, regardless of – and mixing up – medium and support.

The resulting hang is very refreshing, and vindicating, to those afficionados sick to the hind teeth of Hayter being dismissed as a “technical wizard” in the etching studio, and therefore not, by extension, a “real” artist outside of it.

Tuesday, January 27th, 2009

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Matt Mullican: A Drawing Translates the Way of Thinking at The Drawing Center


When Mullican asserts in writing that the “preoccupation with materials and processes seems to clutter up the phenomenon of what interests me,” he is making it clear to us that no individual person or thing can contain the entirety of that which engages him. Thus the artist reworks appearances as a means of describing the gestalt that both energizes and evades his hand.

Monday, January 26th, 2009

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R. H. Quaytman: chapter 12: iamb at Miguel Abreu Gallery


Quaytman works in a mode of painting/silkscreen hybrid, an at once middle-brow and mass-produced liminal form that is ideologically adrift between the elite and the unique in a way that recalls Warhol. The show quietly crackles with ideas about production; perception and legibility; the nature of the “image;” and the play between painterly and photographic values.

Thursday, January 1st, 2009

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The Art Critic by Peter Plagens


I’ve long felt that Peter Plagens and I had a community of interest, as we’ve both written about art for weekly newsmagazines (he for Newsweek, I for Time, having preceded Robert Hughes in that slot). Imagine my delight when I learned last August that Plagens was publishing his second novel, The Art Critic, in 24 installments on artnet! Twenty-four…

Thursday, January 1st, 2009

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Proust/Warhol by David Carrier


Marcel Proust begins his novel In Search of Lost Time with a famously long passage in which the Narrator describes sleep, or more properly, the antics of his imagination, while semi-conscious. When I read this passage for the first time, the image that most struck me was that of the Narrator sitting in an armchair reading…

Thursday, January 1st, 2009

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Jean Prouvé by Laurence Bergerot and Patrick Seguin (editors)


Chelsea, New York gallery goers with an astute eye for furnishings will have picked up on the cult status of French mid-century modernist Jean Prouvé.  A vintage specimen of his legendary Potence lamp provides scant illumination and surreally displaced period charm to the very public back office at Sonnabend Gallery, for instance; a weatherworn school…

Thursday, January 1st, 2009

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Beyond Sacred: Recent painting from Australia’s remote Aboriginal Communities: The Collection of Colin and Elizabeth Laverty


Colin Laverty is a Sydney doctor, who, along with his wife Elizabeth, has amassed one of the most singular collections of recent and contemporary aboriginal art in Australia. This book documents the collection, containing clear, color-accurate reproductions, photographs of the landscapes in which particular artists work and some portraits. There are informed essays throughout. The…

Wednesday, December 24th, 2008

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Marlene Dumas at MoMA and Elizabeth Peyton at the New Museum


Dumas and Peyton are united in their limitations as well as their strengths—and, arguably, in their capacity to ensure that their limitations are strengths. Dumas’s photo-dependency gives her imagery political edge. Denial of sensory depth almost punishes viewers for yearning for it, reminding them of the urgencies of injustice and exploitation that this art – and their consciences – should be addressing. Peyton’s style wallows in its own patheticism, as if cloying, ephemeral, illustration-technique are symptoms of self-pity. Such knowingly retarded means sit perfectly with the basically adolescent emotion she taps, which is that of star-struck infatuation.

Monday, December 22nd, 2008

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Magdalena Abakanowicz: The Reality of Dreams at Mary and Leigh Block Museum of Art, Northwestern University


These monumental drawings consist of interwoven lines made with charcoal or gouache that tangle and bind together to form strange organic beings. Forms allude to a tree trunk, a human torso, a flower, or an insect; they explore the ambivalence between nature’s capacity to produce the mysterious pulsating of life which is simultaneously haunted by the treachery of death.