Criticism
Wednesday, May 10th, 2017
 
Cover of the book under review. Image courtesy of the publisher.
A look at eight years of writing by Bob Nickas. ...
Wednesday, May 10th, 2017
 
Mimmo Rotella, TAL, 1957, Décollage on canvas, 12 7/8 x 14 1/4 inches. Image courtesy of the gallery.
selected early works were on view uptown ...
Friday, January 6th, 2017
 
KarinSchneider_feature
Cannibalization is a creative act in the artist’s recent show of new text-based and reductivist work. ...
 

Thursday, December 4th, 2008

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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

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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.

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.

Saturday, November 1st, 2008

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Paintings in Proust: A Visual Companion to “In Search of Lost Time” by Eric Karpeles


Thanks to the very fully annotated correspondence, in 38 volumes, we know a great deal about Marcel Proust’s tastes in visual art. When young he frequented the Louvre, went to the Low Countries and, under the spell of John Ruskin, traveled to see France’s medieval churches. He devoted long essays to Gustave Moreau and Monet,…

Saturday, November 1st, 2008

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Abstract Expressionism: A World Elsewhere curated by David Anfam at Haunch of Venison


We need to understand properly the Americanness of Abstract Expressionism, without treating it either as a triumph of chauvinistic mythmaking or as an episode in the Cold War.