Criticism
Saturday, May 14th, 2016
 
NP-cover
Her extended exhibition closes May 15 at Nathalie Karg on the Lower East Side ...
Saturday, May 14th, 2016
 
cover
The artist explores the interrelation of intellectual, aesthetic, and corporeal adornment. ...
Wednesday, May 11th, 2016
 
Irwin-Ocean-Parka
Can Modernism’s history be seen through the lens of Irwin’s work? ...
 

Thursday, December 4th, 2008

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Zero in NY at Sperone Westwater Gallery


Working outside the gallery system, these artists made single-evening exhibitions, often in their own studios, issuing manifestos with these events. While some artists involved with Zero, like Lucio Fontana, are well recognized in America, this is the first survey of the lesser-known group in the States.

Monday, December 1st, 2008

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Old Masters, New World: America’s Raid on Europe’s Great Pictures by Cynthia Saltzman


At the end of the Civil War, there were very few significant paintings in America. By the start of the Great War, however, thanks to a surprisingly small group of men and women, the extensive collections we possess today had started to be formed. Cynthia Saltzman, a marvelously writerly writer, has studied the literature, read…

Monday, December 1st, 2008

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New China New Art by Richard Vine


Vine and artist Zhang Hongtu present revised/expanded edition at New York Public Library this Wednesday (February 1)

Monday, December 1st, 2008

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Max Weber: Paintings from the 1930s, 40s, and 50s at Gerald Peters Gallery


Woman Holding Tablet (1946) pleasingly and convincingly locates a seated figure within a geometric environment, with ochre tints and warm blacks set deftly against notes of bright coral and medium blue. The rather strenuous engineering of the pose and surroundings, however, give the impression of an exercise – a demonstration of the plastic re-creation of a generic event.

Monday, December 1st, 2008

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Alexi Worth at D.C. Moore


The grainy, opaque paint surfaces and austere earth palette bespeak an unfashionably non-ironic desire to produce ‘quality’ paintings. And there are learned references and quotations from art history and photography.

Friday, November 28th, 2008

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Hilary Brace: Recent Drawings at Edward Thorp Gallery


At first the eye is fooled – one thinks one is looking at silvery photographs of sublime cloudscapes shot from an airplane above an uninhabited wilderness. Closer examination reveals the patient, expert mark of the hand, as well as an improvisatory richness of imagination that, while consistently illusionistic, is decidedly otherworldly.

Friday, November 28th, 2008

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Daniel Hesidence: 1779 / Pedestrians at Feature Inc


The artist softens his vigorous brushwork using a blending brush, a staple of the realist painter’s tool kit, relying too heavily on an admixture of white to sidestep the chromatic muddiness that would otherwise ensue. In places this unexpected technique imparts a smeary appearance, while elsewhere the forms are so hairy-looking you want to take a big comb to them.

Wednesday, November 19th, 2008

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Liza Lou at L&M Arts


We all know that beautiful artifacts are grand commodities, and so have to be carefully guarded. But by making her sculptures beautiful and menacing, both at the same time, Lou brings home that contradiction.

Monday, November 17th, 2008

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Frankenthaler at Eighty: Six Decades at Knoedler & Company


A “pink lady” is a cocktail made with gin, Grenadine, cream and egg white—the gin packs a punch masked by the more ladylike ingredients. The punch in this painting lies in how its image, suggesting (among much else) an orchid and a human heart, boils upward and outward, from its slate-blue core through the billowing peach and fuchsia of its sides to the splattering blast of blue and reds at the top.

Wednesday, November 12th, 2008

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Jackie Winsor at Paula Cooper Gallery


Much of Winsor’s originality derives from her enigmatic yet evocative treatment of form, which conceals as much as it reveals.