Criticism
Monday, August 28th, 2017
 
kiefer-cover
On view in Chelsea, extended to September 1 ...
Wednesday, August 9th, 2017
 
rama-cover-2
Exuberant joy in the face of anguish; through September 10 ...
Tuesday, July 18th, 2017
 
Screen Shot 2017-07-18 at 6.50.43 AM
For Dumas, the question of extinction also points to violence against African-Americans ...
 

Sunday, February 21st, 2010

Iannis Xenakis, Study for Metastaseis 1954. Ink on paper, 9-1/2 x 12-1/2 inches. Iannis Xenakis Archives, Bibliothèque nationale de France, Paris

Iannis Xenakis: Composer, Architect, Visionary at the Drawing Center


Storms of tiny lines and colored boxes remain powerful statements on their own, even if they were to be completely disconnected from the music they ultimately represent.

Friday, February 19th, 2010

David Reed, Working Drawing for #571-2, two sheets; each 22 x 17 inches. cover FEBRUARY 2010: Color Study 45, 2009. Color Study for Painting 601. images courtesy of Peter Blum Gallery, New York

David Reed at Peter Blum (Soho)


The drawings are filled with information and speculation.

Friday, February 19th, 2010

William Eggleston Untitled (Water on Dirt Road, Las Poza, Mexico) 2005. Pigment print, 22 x 28 inches, Edition of 7 © Eggleston Artistic Trust Courtesy Cheim & Read, New York

William Eggleston: 21st Century and Diane Arbus: In the Absence of Others at Cheim & Read


Eggleston and Arbus promoted the shared view that no subject is uninteresting when captured a compelling way.

Thursday, February 18th, 2010

Pablo Bronstein, The Museum Nearing Completion as Seen from Fourth Avenue 2009. Ink on paper, 44-7/8 x 138 inches (114 x 350 cm). images courtesy the artist, Herald St., London

Pablo Bronstein at the Met, at the Metropolitan Museum of Art


Bronstein appears to want to draw classical buildings as though he were at work in a perpetual ancient regime.

Thursday, February 18th, 2010

Paul Corio, Toga Tiger 2009. Acrylic on canvas, 60 x 60 inches. Courtesy of the Artist.

Paul Corio at 210 Gallery


Corio brings a hard-earned sense of humor and mischief to abstraction rooted in the phenomenology of optical sensation, a branch of contemporary art not exactly known for big laughs.

Friday, February 12th, 2010

Installation shot of the exhibition under review, showing, left, Robert Grosvenor, Untitled, 1986-87. Steel, plastic, concrete, 60 x 108 x 96 inches, and right, Untitled, 1994. Fiberglass, metal, plastic, and paint, 38 x 167 inches. Courtesy of Paula Cooper Gallery.

Robert Grosvenor at Paula Cooper


Robert Grosvenor at Paula Cooper

Thursday, February 11th, 2010

Installation shot of the exhibition under review, Courtesy Haunch of Venison, New York

Brian Alfred: It’s Already the End of the World at Haunch of Venison


Brian Alfred at Haunch of Venison

Sunday, February 7th, 2010

Josh-Smith

Josh Smith at Deitch Studios


The best works are vibrant and fun, and show the chops of a painter who takes delight in straightforward, rambunctious picture making.

Sunday, February 7th, 2010

Linda Cross, Fresh Kills 2005. Paper and acrylic on panel, 47 x 42 x 8 inches

Linda Cross at the James W. Palmer Gallery, Vassar College and the Beacon Institute of Rivers and Estuaries


She doesn’t paint so much as build her pictures…they seem to convey the reality of water stopped up with manmade detritus.

Sunday, February 7th, 2010

Zhang-Huan, installation shot of the exhibition under review. Photography by G.R. Christmas. Courtesy of PaceWildenstein, New York. (c) Zhang Huan Studio

Zhang Huan at Pace Wildenstein


With Zhang’s Rulai one senses the conflicting elements of life and death within the gray ash.