Wednesday, September 23rd, 2015
The second of artcritical’s 2015 dispatches from Venice ...
Saturday, September 19th, 2015
Ellen McFadden, Toketee, 2014. Acrylic on canvas, 40 x 40 inches. Courtesy of the artist and Ampersand Gallery.
Sea, sky, air, and space meet in the respectively trippy, geometric, and photorealist images of three artists. ...
Thursday, September 17th, 2015
Ogden’s work leverages anxiety and excitement, brush on canvas, as pain’ing. ...

Friday, March 14th, 2008


Luc Tuymans

In Luc Tuymans, you are never allowed to forget that the source is banal and secondary. Painterliness underscores alienation rather than ameliorating it.

Friday, March 14th, 2008


Stanley Lewis

Lewis’s unfailingly authoritative skill for painting real, rich and crystalline light, joined to his muscular composition, is the key to his power and success.

Monday, March 3rd, 2008


Bingyi Huang at Max Protetch

Given Huang’s indirectness, we experience the scene as if imbued with symbolist forms, which reveal their meaning only fleetingly. Yet the painting does not feel deliberately obscure, but rather poses the question, How much must be revealed before the images makes narrative sense?

Saturday, March 1st, 2008


Rackstraw Downes at Betty Cuningham and Greg Lindquist at Elizabeth Harris

Downes paintings reflect a unique combination of aggressive conception and passive elaboration. Fervent perceptions of space enliven their broad outlines; details follow, filling in the story of each site exactly “as is.” Colors add atmosphere and light.

Saturday, March 1st, 2008


Successive Approximation: Tauba Auerbach, Daniel Buren, Sol Lewitt, Mike Quinn and Robin Rhode

Too often group exhibitions, especially those that mix together young artists and famous figures, fail to reveal elective affinities. This tight small show, however, revealed that these nine very different looking works of art all shared a genuine concern with successive approximation. And in doing that, it also displayed the totally unexpected relationship of these contemporary works of art with the traditions of old master painting.

Saturday, March 1st, 2008


Juan Usle at Cheim & Read and Silvia Bachli at Peter Freeman, Inc.

Despite different approaches towards scale, texture and color, a common attitude pervades each artist’s style that isolates a cool tension between involvedness and restraint.

Saturday, March 1st, 2008


The Artwork Caught by the Tail: Two on Francis Picabia from MIT

Francis Picabia and Dada in Paris by George Baker and I Am a Beautiful Monster: Poetry, Prose, and Provocation by Francis Picabia

Saturday, March 1st, 2008


Diana Puntar: Lived Live Evil Devil at Oliver Kamm/5BE Gallery

Their biomorphic qualities are undermined by the fabrication process, but this increases the sense of otherness they generate. They suggest imaginary beings that are not the product of fantasy, but rather of imaginative speculation on the real but unknown.

Saturday, March 1st, 2008



The Geffen Contemporary at MOCA 152 North Central Avenue Los Angeles, CA 90013 October 29, 2007–February 11, 2008 The late 20th century art world had a bad conscience about high art which was vilified as serious, profound, mysterious, spiritual, elitist, pretentious, outmoded and labor-intensive. This led to infatuation with popular culture (silly, superficial, obvious, materialistic,…

Thursday, February 7th, 2008

William Kentridge, What Will Come, 2007. Courtesy of Marian Goodman Gallery

A Surfeit of Genius: William Kentridge at Marian Goodman Gallery

Seeing Double is packed with elaborations of his trademark idiom: imagery transmogrified