Criticism
Monday, August 24th, 2015
 
Installation view of work from The 15th Annual Summer Apprenticeship Program at Artspace, 2015. Photograph by John Groo.
An exhibition and its extracurricular programming explore artistic representations of mass incarceration. ...
Wednesday, August 19th, 2015
 
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The late artist’s assemblages move out of the desert and into the museum. ...
Monday, August 17th, 2015
 
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A new film about a famous author inadvertently raises the problem of substituting images for people. ...
 

Friday, June 22nd, 2007

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Neo Rauch: para at The Metropolitan Museum of Art


Neo is perfectly forenamed for an artist in whom, to paraphrase architectural theorist Charles Jencks, the wasms have become an ism. Rauch’s paintings, fusing elements of romanticism and realism from the last two centuries, resist the idea that anachronism and rejuvenation might be at odds with one another.

Monday, June 11th, 2007

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Venice Biennale 2007


LA BIENNALE DI VENEZIA 52nd International Exhibition of Art A version of this article first appeared in the New York Sun, June 11, 2007 under the title “Pax American in the Serene Republic” The Venice Biennale has been the Olympics of the visual arts since its inception in 1895. In odd years countries choose their artist…

Friday, June 1st, 2007

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Jeff Wall


The Museum of Modern Art February 25 – May 14, 2007 Marian Goodman Gallery, New York February 23 – March 31, 2007 By STEPHANIE BUHMANN Jeff Wall is considered one of the most innovative and influential artists of his generation. Though his medium is photography it is perhaps inappropriate to think of him as a…

Friday, June 1st, 2007

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Arthur Ou: To Preserve, To Elevate, To Cancel


Hudson Franklin 508 West 26th St. #318 New York City May 10 – June 16, 2007 Arthur Ou is a Taiwan-born artist whose concerns include the legacy of modernist art and photography’s predominant role in visual culture. Although Mr. Ou earned an MFA in photography at Yale in 2000, he is perhaps best described as…

Friday, June 1st, 2007

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Anthony Goicolea: Almost Safe


Postmasters Gallery 459 W 19 Street New York City 212 727 3323 April 28- June 2, 2007 Anthony Goicolea’s photographs are fantastical constructions of derelict landscapes. His large-scale black and white photographs—they measure up to eight feet wide—fill the front room at Postmaster, depicting traces of man’s interaction with the natural environment in a surreal…

Friday, June 1st, 2007

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Nancy Shaver: “Retail,” sculpture and objects from Henry


Feature, Inc. 530 West 25th Street New York City 212 675 7772 14 April – 19 May 2007 The curiosity shop that artist Nancy Shaver runs in Hudson, N.Y., is named Henry. It is an antique store filled with non-art objects in display cases that customers pay cash for and carry away. In one sense…

Thursday, April 5th, 2007

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The Realist World: Alfred Leslie, Sylvia Sleigh, Philip Pearlstein


THE RADICAL THEATER OF ALFRED LESLIE Ameringer Yohe until April 21 (20 West 57th Street, between 5th and 6th Avenues, 212 445 0051) SYLVIA SLEIGH I-20 until May 10 (557 West 23rd Street between 10th and 11th Avenues, 212 645 1100) PHILIP PEARLSTEIN Betty Cuningham until April 28 (541 West 25 Street, between 10 and…

Sunday, April 1st, 2007

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The linear and the painterly: How art today uses its traditions


Saul Steinberg at the Morgan Library, Merlin James at the Studio School

Sunday, April 1st, 2007

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Justin Lieberman: Agency (Open House)


Zach Feuer Gallery 530 West 24th Street New York City 212-989-7720 January 11 to February 24, 2007 Historically speaking, the emphasis on written language in works of visual art, whether it is done in a mocking, disruptive, or sculptural way, introduced a level of criticality that was not there before. If a visual artist decides…

Sunday, April 1st, 2007

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About Borromi: Prints and Drawings by Deborah Rosenthal


The Bowery Gallery 530 West 25th Street, 4th flr, New York City 646-230-6655 February 27 to March 24, 2007 “About Borromini,” an exhibition of prints and drawings by Deborah Rosenthal and text by Jed Perl, had an almost curative feel to it. To look at these pieces and to read the accompanying prose was like…