Criticism
Friday, January 6th, 2017
 
KarinSchneider_feature
Cannibalization is a creative act in the artist’s recent show of new text-based and reductivist work. ...
Friday, October 28th, 2016
 
Nathaniel Dorsky, Autumn, 2016. Silent 16mm color film, TRT: 26:00. Courtesy of the artist and New York Film Festival.
Two experimental filmmakers depict the world, using the methodology of poetry. ...
Wednesday, September 14th, 2016
 
rabinowitz_feature
The Israeli sculptor and video artist contends with physical manifestations of war and trauma. ...
 

Monday, December 1st, 2008

rp_huan-33-meters.jpg

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

rp_Max-Weber_Signs.jpg

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

rp_worth-thumbs.jpg

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

rp_HilaryBrace-Sept.jpg

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

rp_hesidence-1.jpg

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

rp_Liza-Lou-Tower.jpg

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

rp_frankenthaler-greenshade.jpg

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.

Wednesday, November 12th, 2008

rp_jackie-winsor-circle.jpg

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.

Sunday, November 9th, 2008

rp_Matthiasdottir_Maine-Landsc.jpg

Louisa Matthiasdottir: Selected Paintings at Tibor de Nagy Gallery


Throughout this retrospective selection of her work, one senses in Matthiasdottir a luminous reserve – a private temperament joyfully submitting to an exacting task. We’re rewarded with extraordinary evocations of the observed.

Thursday, November 6th, 2008

rp_Overstreet-cyclonesequence.jpg

Baker Overstreet: Follies at Fredericks & Freiser


Hints of past layers visible beneath the surface are the only counterpunch to a solid machine that affords little room for speculation beyond its shiny and seductive design. The label of “primitive” given to Overstreet and many of his peers in contemporary abstract painting belies a highly stylized, self-conscious approach to image construction.