Wednesday, October 28th, 2015
View of "Diary: How to Improve the World (You Will Only Make Matters Worse)," 2015, by John Cage, published by Siglio Press. Courtesy of Siglio.
The radically inventive and prolific musician’s ethics and curiosity are revealed in a new diary facsimile by Siglio Press. ...
Thursday, October 15th, 2015
On view at Valentine in Ridgewood and Hionas on the Lower East Side ...
Tuesday, October 13th, 2015
Sarah Sze, Measuring Stick, 2015. Video projectors, fan, light, mirrors, wood, stone, archival prints, speakers, stainless steel, balloon, sand, fruit, egg, plastic, toilet paper, aluminum foil, grass; 132 x 90 x 51 inches. Courtesy of the artist and Tanya Bonakdar Gallery, New York. Photo: Mike Barnett.
Sze’s new exhibition makes astronomical allusions with everyday goods and plays with viewer expectations. ...

Thursday, February 7th, 2008

William Kentridge, What Will Come, 2007. Courtesy of Marian Goodman Gallery

A Surfeit of Genius: William Kentridge at Marian Goodman Gallery

Seeing Double is packed with elaborations of his trademark idiom: imagery transmogrified

Wednesday, February 6th, 2008


Lisa Robinson: Snowbound at Klompching Gallery

Although Robinson’s snowscapes recall the nineteenth-century Arctic exploration that captured America’s imagination, her work also conjures our 21st-century fear of natural disaster—that nature will reclaim the manmade landscape by our own disregard for the environment.

Sunday, February 3rd, 2008


Alan Saret at the Drawing Center, Richard Pousette-Dart at Knoedler

Physical gesture means the artist’s hand is present yet transcended: there is no question that the arcs or circles are handmade, but an unforced, lyrical all-overness creates a cosmic, suprapersonal sense of order and well-being.

Sunday, February 3rd, 2008


Katy Grannan at Salon 94 Freemans and Greenberg Van Doren; Lina Bertucci at Perry Rubinstein

There is a pervasive ambivalence in Katy Grannan’s portraits: the gaze that returns the viewer’s is a mix of coyness and exhibitionism. The images themselves oscillate between similar extremes, building a visceral sense of the present through precision while succumbing to a remoteness that results from theatricality.

Friday, February 1st, 2008


The Theatre of the Face: Portrait Photography Since 1900 by Max Kozloff

Published by Phaidon Press, 2007, 336 pages, 280 black & white photographs, 70 color photographs $69.95 When the findings of history, a discussion of uses and the reconstruction of story blend with criticism, portrait content, I hope, is enlivened. Still, the narratives within it keep on turning, like the expressions on faces, themselves… (p….

Tuesday, January 22nd, 2008

Alberto Burri, Nero cretto (Black Cretto), 1976. Acrylic and PVA on Celotex, 147.3 x 246.5 cm. On view at the Solomon R. Guggenheim Museum, New York, in their exhibition, Alberto Burri: The Trauma of Painting. Private collection, courtesy Luxembourg & Dayan

Alberto Burri at Mitchell-Innes & Nash

As Burri’s retrospective continues at the Guggenheim through January 6, a review from 2008

Tuesday, January 22nd, 2008


Ariane Lopez-Huici: Photography

Lopez-Huici acknowledges the mythic power of the Venus of Willendorf, that of the earth mother and other myths of femininity, as she de-mystifies them through her subjects’ specificity and ambient humanity.

Sunday, December 23rd, 2007


The Panza Collection: An Experience of Color and Light

As the skies become grey, the sunlight becomes scarce, and the air becomes frigid, we find in snowy Buffalo at the Albright-Knox, a respite for all of this, an oasis of color and light.

Sunday, December 23rd, 2007


Thomas Demand at 303 Gallery and Merlin James at Sikkema Jenkins & Co

Merlin James and Thomas Demand might seem as different as two contemporary artists can be. But a coincidence of means begs a comparison between shows of overtly contrastive mood and art-world temper. For both artists make their final images from models of their own making.

Sunday, December 23rd, 2007


Damien Hirst’s Shark

Hirst seems to play to the peanut gallery, the broadest audience, those who think of art as hallowed, more so because they don’t understand it.