Criticism
Monday, August 28th, 2017
 
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On view in Chelsea, extended to September 1 ...
Wednesday, August 9th, 2017
 
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Exuberant joy in the face of anguish; through September 10 ...
Tuesday, July 18th, 2017
 
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For Dumas, the question of extinction also points to violence against African-Americans ...
 

Sunday, November 9th, 2008

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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.

Monday, November 3rd, 2008

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Mary Heilmann: To Be Someone at the New Museum and Mary Heilmann: Some Pretty Colors at Zwirner & Wirth


Heilmann often seems be daring herself to do something truly “awful”—only to find beauty in it…The accumulated brushmarks and open drips make her act of painting transliterate into a kind of crime of passion.

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.

Saturday, November 1st, 2008

Baker Overstreet, Sequined Cyclone Sequence, 2008. Acrylic and latex on canvas, 48 by 62 inches. Cover NOVEMBER 2008: The Continental Bathosphere, 2008. Acrylic and latex on canvas, 62 by 48 inches. Images courtesy of Fredericks & Freiser, New York.

Baker Overstreet: Follies at Fredericks & Freiser


Baker Overstreet at Fredericks and Freiser

Friday, October 17th, 2008

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Untitled (Vicarious): Photographing the Constructed Object at Gagosian Gallery


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.

Wednesday, October 15th, 2008

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Nick Miller: Truckscapes at the New York Studio School


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.

Tuesday, October 14th, 2008

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Bridget Riley and Peter Doig at the Musée d’art moderne de la ville de Paris


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.

Sunday, October 12th, 2008

Ching Ho Cheng, The Certainty of Blue IX, 1994. Charcoal, graphite and pastel on torn rag paper, 38-1/2 x 50 inches. Courtesy Shepherd & Derom Galleries.

Ching Ho Cheng at Shepherd & Derom Galleries


Ching Ho Cheng at Shepherd & Derom Galleries

Wednesday, October 8th, 2008

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NOTES FROM… North Carolina


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