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.
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.
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.
Baker Overstreet at Fredericks and Freiser
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.
Ching Ho Cheng at Shepherd & Derom Galleries