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, January 21st, 2010

Steve DiBenedetto, Untitled 2008. Oil on canvas, 36 x 24 inches

Morphological Mutiny: Steve DiBenedetto, Alexander Ross and James Siena at David Nolan Gallery


Dibenedetto, Siena and Ross have defined an architectural endoskeleton within the body of the biomorph.

Monday, January 11th, 2010

Elia Alba, James & Rocio 2009. Photo transfers on fabric, acrilyic, thread, metal armature, life size. Courtesy Black & White Gallery. rear view, below.

Elia Alba: Busts at Black & White Gallery


Shrouding the armature with photo-tattooed fabric tilts two-dimensional surfaces towards the third dimension, but there is constant flickering or vacillation between the two kinds of space.

Thursday, January 7th, 2010

R.L. Haeberle, Q. And Babies? A. And Babies 1970. Offset lithograph, 25 x 38 inches. The Museum of Modern Art, New York. Published by the Art Workers’ Coalition

1969 at P.S.1 Contemporary Art Center


Throughout the show we are taken on a journey through the predominant narrative of 1960s art history, as told by the institution that has dictated modern art as we know it.

Wednesday, January 6th, 2010

Black Kites 1997. Graphite on skull, 8-1/2 x 5 x 6-1/4 inches. Philadelphia Museum of Art. Gift (by exchange) of Mr. and Mrs. James P. Magill, 1997. all images this article © 2009 Gabriel Orozco

Gabriel Orozco at The Museum of Modern Art, New York


This first major museum retrospective of Mexican Gabriel Orozco has been viewed as controversial, and not entirely for reasons of taste.

Monday, January 4th, 2010

Andrew Moore, Palace Theater, Gary, Indiana 2008. Digital c-print, 62 x 78 inches. Courtesy of Yancey Richardson Gallery

Andrew Moore at Yancey Richardson Gallery


Moore’s subject is the transformative relationship of abandoned architecture to the natural elements, and, through time, its reclamation by the same.

Sunday, January 3rd, 2010

Ree Morton, Untitled (Repetition Series) 1970. Pencil on paper, 14 x 10 inches. Estate of Ree Morton, Courtesy of Alexander and Bonin, New York and Annemarie Verna Galerie, Zürich.

Ree Morton: At the Still Point of the Turning World at the Drawing Center


There is a subtext running through much of Morton’s works that laments the death of the soul in the things of the world around her.

Wednesday, December 30th, 2009

Gerhard Richter, Abstract Painting (911-3) 2009. Oil on canvas, 78-3/4 X 118-1/8 inches. Courtesy of Marian Goodman Gallery, New York.

Gerhard Richter: Abstract Paintings 2009 at Marian Goodman Gallery


Austere, calming, provocative, aggressive, confronting, soothing, luring, denying – these are some of the adjectives that can be applied to Richter’s new paintings.

Wednesday, December 30th, 2009

Eric Fischl, Corrida in Ronda #6 2008. Oil on linen, 84 by 120 inches. Courtesy of Mary Boone Gallery, New York

Eric Fischl at Mary Boone


By all rights these life-and-death-size duels in the sun between bullfighters and bulls should be awful, stripped of the mystery and mediation that until now had been the artist’s stock-in-trade.

Wednesday, December 30th, 2009

Helmut Federle, 4.4 Resurrection II 2009. Acrylic on canvas, 23-5/8 x 19-5/8 inches. Courtesy of Peter Blum Gallery.

Helmut Federle: Scratching Away at the Surface at Peter Blum Soho


Federle’s attempt to create an atmosphere of spiritual mimesis is fairly unique in current abstract painting.

Monday, December 28th, 2009

Carroll Dunham, Bather (one) 2009. Mixed media on canvas, 71 x 71 inches. Courtesy of Gladstone Gallery

Carroll Dunham at Gladstone Gallery


Carroll Dunham’s rough canvases, tilting toward aggressive sexual assertion and actions of near anarchy, are catchy tunes of hipster malice.