One of the most interesting aspects is Azami’s negative capability: her technique demonstrates a willingness to expunge the self in favor of a poetic exactitude of description.
Rothko/Giotto Gemäldegalerie Staatliche Museen zu Berlin February 6-May 3, 2009 Picturing America: Photorealism in the 1970s Deutsche Guggenheim, Berlin March 7- May 10, 2009 Blockbuster exhibitions can be extremely small. When recently the Frick presented the London Cimabue alongside its Manhattan mate, in the small room next to the bookstore, a revelatory visual relationship was…
In the Teatro la Fenice or the Chiostro Verde of San Giorgio one likes everything a little bit more than one might elsewhere. – Igor Stravinsky, in Stravinsky & Craft,Conversations with Stravinsky From the dais on the grass outside the U.S. Pavilion, at the June 4th press conference for Bruce Nauman’s exhibition, the State Department’s…
A film review from 2009 coincides with the artist’s show at Hionas Gallery
A persistence of hard-edged nonobjective painting shows the lineage of modernism hanging on, even if only by the fingernails.
Her aphorisms are generalizations with political intent.
Ward Shelley: Who Invented the Avant Garde (and other half-truths) and The Sleeper Experiment at Pierogi
If his ostensible state-of-hibernation may seem a little anti-climactic, it’s a rest he’s earned.
The paintings and sculptures of the eight artists in this group show carry a potency derived from the convergence of man-made networks with ones culled from nature.
The odd juxtaposition of these common objects with an abstract formal language gives the work social dimensions and sensual qualities.
There is a palpable tension evoked in watching the crystalline visage of Nancy Reagan struggle for clarity against the loosey-goosey stained canvas.