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,…
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.
One of the last methods Cheng used included metal that, once it oxidized, existed as a rough surface of rust whose compelling alchemy gave his audience a remarkable exterior to consider. The magic of these pieces results from contrasts in color as well as memorable differences in the finish of the paint and copper.
This adventurous photography survey, pairing historical and contemporary examples of sculptural construction and assemblage as subject matter, includes David Smith, László Moholy-Nagy, Peter Fischli & David Weiss, James Welling, Gregory Crewdson, Thomas Demand and Wolfgang Tillmans.
Just as many Matisse drawings and paintings made in Nice in the 1920s and 30s incorporate a representation of himself making the work of art, so Miller includes images of his working space in his landscapes. The effect is to bring us into the working process.
In his first dispatch from Paris, Mick Finch ponders simultaneous shows of two artists, Bridget Riley and Peter Doig, both active in Britain but from different generations, whose contrastive relations to Post-Impressionism proved instructive.
In the first of a new series of dispatches from around the US and the world by regular contributors, GREG LINDQUIST charts developments in his native North Carolina
Nightfall can inspire fascination with the starry sky, optimistic hopes for fulfilled sexual desire, or at least anticipation of sleep. But it can also cause anxiety if you are lonely, which is why van Gogh described The Night Café (1988), at MoMA, as showing a place where “dark forces lurked and suppressed human passions could suddenly explode.”
Was on view until October 25, 2008
Collectively, these sculptures look like death masks cast from Aztec sacrifices. Each embodies the magical absurd-beyond-belief-because-it’s-so-true realism of Gabriel Garcia Marquez.