October 21, 2009—March 28, 2010 Solomon R. Guggenheim Museum 1071 Fifth Avenue (at 89th Street) New York City 212-423-3500 Anish Kapoor’s Memory, a 24-ton metallic blimp measuring approximately 47 x 29 x 15 feet overall, is imposing at a number of levels. It requires the viewer to use his/her own memory to create an image…
Facture is neither painterly nor hard-edged geometric, but in between–straight edges that nonetheless exude life.
She seems to be simultaneously poking fun at tradition and at the same time leveling a serious challenge against it, all the while acknowledging that she cannot simply reject her artistic heritage.
Seldom has a better synthesis been achieved among raw power, exquisite color, and the organizing effects of line.
Green’s current paintings supplant his earlier “limited animation” mock-mayhem with the saturated glazes and rendered anatomies of a Golden Age chipmunk fable.
If we are hesitant to use a term so absolute as “the absolute,” we can, even so, acknowledge the extreme philosophical drive in Kurahara’s esthetic.
To Walker and Bradford alike, density of visual information is an aesthetic choice that mirrors the mutliple layers of reality and complexity retrieved from subject matter.
“Black has an inner sound of nothingness bereft of all possibilities…”
— Vasily Kandinsky, On the Spiritual in Art (1910)
Saving the imagery from what we might call barbarous chaos is Penck’s highly skilled orientation and spacing of the visual components of an individual work.
10 September to 24 October, 2009 745 Fifth Avenue, between 57th and 58th streets New York City, 212 752 2929 In the 1980s, when painting was beleaguered and abstract painting under much pressure, Peter Halley was one of the few younger abstractionists who attracted attention. His distinctive hard-edge pictures were accompanied by his theorizing that,…