Criticism
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? ...
Wednesday, May 11th, 2016
 
4a
The artists use ceramics and painting to alter viewers’ perceptions of space and objects. ...
 

Friday, March 14th, 2008

rp_wall03.jpg

Jeff Wall’s Unlovely World


The effect of scale, however, is to demand an attention the unglamorous, prosaic images might not otherwise command, to make moral, political claims for the importance of their subjects — in the senses both of the socially marginalized people and the issues raised.

Friday, March 14th, 2008

rp_Tuymans-Luc.jpg

Luc Tuymans


In Luc Tuymans, you are never allowed to forget that the source is banal and secondary. Painterliness underscores alienation rather than ameliorating it.

Friday, March 14th, 2008

rp_stanley-lewis.jpg

Stanley Lewis


Lewis’s unfailingly authoritative skill for painting real, rich and crystalline light, joined to his muscular composition, is the key to his power and success.

Monday, March 3rd, 2008

rp_huang.jpg

Bingyi Huang at Max Protetch


Given Huang’s indirectness, we experience the scene as if imbued with symbolist forms, which reveal their meaning only fleetingly. Yet the painting does not feel deliberately obscure, but rather poses the question, How much must be revealed before the images makes narrative sense?

Saturday, March 1st, 2008

rp_RackstrawDownes-2.jpg

Rackstraw Downes at Betty Cuningham and Greg Lindquist at Elizabeth Harris


Downes paintings reflect a unique combination of aggressive conception and passive elaboration. Fervent perceptions of space enliven their broad outlines; details follow, filling in the story of each site exactly “as is.” Colors add atmosphere and light.

Saturday, March 1st, 2008

rp_successive-approximation.jpg

Successive Approximation: Tauba Auerbach, Daniel Buren, Sol Lewitt, Mike Quinn and Robin Rhode


Too often group exhibitions, especially those that mix together young artists and famous figures, fail to reveal elective affinities. This tight small show, however, revealed that these nine very different looking works of art all shared a genuine concern with successive approximation. And in doing that, it also displayed the totally unexpected relationship of these contemporary works of art with the traditions of old master painting.

Saturday, March 1st, 2008

rp_usle.jpg

Juan Usle at Cheim & Read and Silvia Bachli at Peter Freeman, Inc.


Despite different approaches towards scale, texture and color, a common attitude pervades each artist’s style that isolates a cool tension between involvedness and restraint.

Saturday, March 1st, 2008

rp_baker-cover.jpg

The Artwork Caught by the Tail: Two on Francis Picabia from MIT


Francis Picabia and Dada in Paris by George Baker and I Am a Beautiful Monster: Poetry, Prose, and Provocation by Francis Picabia

Saturday, March 1st, 2008

rp_Puntar.jpg

Diana Puntar: Lived Live Evil Devil at Oliver Kamm/5BE Gallery


Their biomorphic qualities are undermined by the fabrication process, but this increases the sense of otherness they generate. They suggest imaginary beings that are not the product of fantasy, but rather of imaginative speculation on the real but unknown.

Saturday, March 1st, 2008

rp_murakami-inst.jpg

© MURAKAMI


The Geffen Contemporary at MOCA 152 North Central Avenue Los Angeles, CA 90013 October 29, 2007–February 11, 2008 The late 20th century art world had a bad conscience about high art which was vilified as serious, profound, mysterious, spiritual, elitist, pretentious, outmoded and labor-intensive. This led to infatuation with popular culture (silly, superficial, obvious, materialistic,…