Wednesday, September 14th, 2016
The Israeli sculptor and video artist contends with physical manifestations of war and trauma. ...
Monday, September 12th, 2016
Process and history are manipulated and explored through Ruff’s use of found photographs. ...
Friday, September 9th, 2016
Is he a trickster, or a Warholian innovator? What’s the difference? ...

Thursday, December 4th, 2008


The Unknown Blakelock at the National Academy Museum

In addition to his spontaneous brushstrokes, Blakelock explores a decalcomania-like technique of load, press, smear, and lift. This emphatically material-based process creates a raised, textural web of paint activity with a few scattered reds, oranges and yellows flecking a surface that is eerily similar to Jackson Pollock’s and as interesting to ponder.

Thursday, December 4th, 2008


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


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


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


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


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


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


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


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


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.