Criticism
Friday, October 28th, 2016
 
Nathaniel Dorsky, Autumn, 2016. Silent 16mm color film, TRT: 26:00. Courtesy of the artist and New York Film Festival.
Two experimental filmmakers depict the world, using the methodology of poetry. ...
Wednesday, September 14th, 2016
 
rabinowitz_feature
The Israeli sculptor and video artist contends with physical manifestations of war and trauma. ...
Monday, September 12th, 2016
 
ruff_feature
Process and history are manipulated and explored through Ruff’s use of found photographs. ...
 

Saturday, August 1st, 2009

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Ann Stokes: Artists’ Potter, edited by Tanya Harrod


Some artists change the way that you understand art history. Ann changed the way that I and many other people understood everyday life.

Saturday, August 1st, 2009

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Books in Brief


NAMIES AND NEWBIES: THE KRAMARSKY COLLECTION 560 Broadway A New York Drawing Collection at Work 1991-2006, edited by Amy Eshoo, with contributions by Derrick R.Cartwright, James Cuno, Elizabeth Finch, Josef Helfenstein, Glenn D. Lowry, David Mickenberg, Ann Philbin, Earl A. Powell III, Jock Reynolds, and Townsend Wolfe.  Fifth Floor Foundation in Association with Yale University Press,…

Saturday, August 1st, 2009

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Provenance: How a Con Man and a Forger Rewrote the History of Modern Art by Laney Salisbury & Aly Sujo


One of art historian Leo Steinberg’s hobby horses  is the way the literature of art generates interpretations that are autonomous of the images being described.  What is written about a work can spin false leads and confused trails that looking directly at the work ought to dispel.  Just as this happens with the historical interpretation of…

Thursday, July 9th, 2009

Dorsal Fin 2009. Oil on panel, 11.81 x 7.87 inches. Images courtesy of Marc Jancou Contemporary

Ross Chisholm at Marc Jancou Contemporary


The background shadows throb with an almost Goya-esque expressionism. Maybe the matron is escaping into a sci-fi film. Maybe she’s wandering through the forbidden recesses of memory itself.

Friday, July 3rd, 2009

Qigu Jiang Figure A 2008. Ink on rice paper, 16 x 12 feet. Courtesy Koehnline Museum.

Ink Paintings by Qigu Jiang: Figures at The Koehnline Museum


Jiang’s work is philosophy in motion: Essence of line and essence of modern truth are his constant themes.

Wednesday, July 1st, 2009

Wang Guangyi, Great Criticism: Andy Warhol 2002. Oil on canvas, 300 x 200 cm.

Nine Lives: The Birth of Avant-Garde Art in New China by Karen Smith; and Ai WeiWei by Karen Smith, Hans Ulrich Obrisi, Bernard Fibicher


It may seem odd to locate the birth of the Chinese avant-garde so close to the present, for in the West that period style label is associated with the late 19th Century, but in the early 1980s, China was emerging from a long period of being effectively cut off from the outside world.

Wednesday, July 1st, 2009

The Family (Algis, Julie and Bailey) 1968. Oil on canvas, 63-3/8 x 37-1/8. © The Estate of Alice Neel. Courtesy David Zwirner, New York

Alice Neel at David Zwirner and Zwirner & Wirth


Thinking of herself as a “collector of souls,” Neel created an oeuvre that not only reveals different facets of humanity, but also sums up the diversity of American urban society.

Wednesday, July 1st, 2009

Renato Giuseppe Bertelli, Continuous Profile (Head of Mussolini), 1933. Terracotta with black glaze

The Russian Linesman, curated by Mark Wallinger on tour in the UK


16 February – 4 May 2009 The Hayward Gallery, London 16 May – 28 June 2009 Leeds Art Gallery 18 July – 20 September Glynn Vivian Art Gallery, Swansea At a first glance, The Russian Linesman, a group exhibition curated by Mark Wallinger seems to be an eclectic choice of art and artefacts, like a contemporary…

Wednesday, July 1st, 2009

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Broken Flowers and Grass: Nature and Landscape in the Drawings of Anselm Kiefer at the Metropolitan Museum of Art


Kiefer is a complicated independent, one who adopts the revanchist Neo Expressionist mode of his peers, yet embraces and exposes the repressed and tangled complexities of German life.

Sunday, June 28th, 2009

Regina Granne, Marika and Jacopo 1993. Pencil on paper, 17-1/2 x 12-1/2 inches. Courtesy of A.I.R. Gallery

Regina Granne: Increments: Drawings, 1970-1995 at A.I.R. Gallery


Precisely situated in undelineated seas of space, Granne’s forms feel at once boldly declarative and alarmingly precipitous.