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

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.

Sunday, February 7th, 2010

Man Ray, Le Violon d'Ingres, 1924, vintage gelatin silver print. Rosalind and Melvin Jacobs Collection. © 2009 Man Ray Trust / Artists Rights Society (ARS), New York / ADAGP, Paris

Alias Man Ray: The Art of Reinvention at the Jewish Museum


Transgressive, experimental, fiercely individualistic, Man Ray evaded any categories not of his own creation.

Saturday, February 6th, 2010

Misheck Masamvu, Post Election Results oil on canvas, dimensions not known, courtesy of the artist.

Notes from…Harare, Zimbabwe


In a Catch-22, artists cannot sell their work, but they also cannot afford to “waste” materials on work that is not for sale.

Friday, February 5th, 2010

Fred Tomaselli, After Migrant Fruit Thugs 2008. Wool background, silk birds with metallic thread detail, 98 x 64 inches. Edition of 5. Both images, Copyright the artist, Courtesy of James Cohan Gallery and Banners of Persuasion

Demons, Yarns & Tales: Tapestries by Contemporary Artists at James Cohan Gallery


Among thirteen tapestries commissioned from contemporary artists, the most interesting are those in which the medium adds a level of meaning to the image.