The impulse to take Close for granted is perhaps all the greater because the work has an effortless assurance to it. But we must slow down, look past the facility, past the celebrity, to find the real investigation still taking place.
Paine manages to steer these leafless “Dendroids,” as he calls them, between the Scylla of transparency and the Charibdis of mechanization.
One of the most interesting aspects is Azami’s negative capability: her technique demonstrates a willingness to expunge the self in favor of a poetic exactitude of description.
Rothko/Giotto Gemäldegalerie Staatliche Museen zu Berlin February 6-May 3, 2009 Picturing America: Photorealism in the 1970s Deutsche Guggenheim, Berlin March 7- May 10, 2009 Blockbuster exhibitions can be extremely small. When recently the Frick presented the London Cimabue alongside its Manhattan mate, in the small room next to the bookstore, a revelatory visual relationship was…
In the Teatro la Fenice or the Chiostro Verde of San Giorgio one likes everything a little bit more than one might elsewhere. – Igor Stravinsky, in Stravinsky & Craft,Conversations with Stravinsky From the dais on the grass outside the U.S. Pavilion, at the June 4th press conference for Bruce Nauman’s exhibition, the State Department’s…
A film review from 2009 coincides with the artist’s show at Hionas Gallery
A persistence of hard-edged nonobjective painting shows the lineage of modernism hanging on, even if only by the fingernails.
Her aphorisms are generalizations with political intent.
Ward Shelley: Who Invented the Avant Garde (and other half-truths) and The Sleeper Experiment at Pierogi
If his ostensible state-of-hibernation may seem a little anti-climactic, it’s a rest he’s earned.
The paintings and sculptures of the eight artists in this group show carry a potency derived from the convergence of man-made networks with ones culled from nature.