Criticism
Friday, July 13th, 2018
 
Chaim Soutine, Sheep Behind a Fence, c. 1940. Oil on canvas, 10-3/4 x 16-1/4 inches. Private Collection, courtesy of the Jewish Museum. Artists Rights Society (ARS), New York/ADAGP, Paris
Flesh, on view through September 16 ...
Tuesday, July 3rd, 2018
 
Hiraki Sawa (left), Dwelling, 2002. Video, 9:20 minutes; Olafur Eliasson (right), Yellow Double Hung Windows, 1999. Two halogen, 60 watt profle spotlights on tripod with gobos, dimensions variable. Courtesy of the artists and 601Artspace. Photo: Jason Mandella
Curated by Jesse Penridge and Harriet Salmon, through July 31 ...
Wednesday, June 27th, 2018
 
Jill Nathanson, Key of Be, 2016. Acrylic and polymers with oil on panel, 60 x 60 inches. © Jill Nathanson. Courtesy Berry Campbell Gallery
“Nathanson’s colors feel harvested from sensations of all that is sunlit” ...
 

Wednesday, April 1st, 2009

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Abstract Expressionism and the American Experience: a Reevaluation by Irving Sandler


Is there anyone in our Manhattan art world who does not know Irving Sandler? Much loved, he is our Vasari, the tireless chronicler  who attends every lecture, goes to every show, and knows every artist and critic. In this well illustrated book, a revision of his classic The Triumph of American Painting, he focuses on 1942…

Wednesday, April 1st, 2009

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Sculpture Key West 2009


At Sculpture Key West, the artists had only a few days – working in the heat, wind and rain – to execute their pieces. The drama inherent to such a logistically challenging process is palpable in the final result., CHRISTINA KEE discovered

Monday, March 23rd, 2009

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The Third Mind: American Artists Contemplate Asia, 1860-1989 at the Solomon R. Guggenheim Museum


Like some earlier Guggenheim exhibitions, Mark Rosenthal’s 1996 splendid, mindless history of abstraction and the more recent survey Russia! are two examples, The Third Mind presents much great art without a convincing visual premise.

Monday, March 23rd, 2009

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Serban Savu: The Edge of Empire at David Nolan Gallery


Although the architecture’s physical decay reflects its economic uselessness, such romantic titles as The Guardian of the Valley and Mountain of Nostalgia lend emotional value to these dour and severe scenes. These paintings speak to the failed utopian ideas in Communism.

Sunday, March 22nd, 2009

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Jack Bush: Works on Paper at the New York Studio School


What most truly characterizes Bush’s mature work is a seriousness, even a gravitas that amounts to a truly Olympian detachment.

Thursday, March 19th, 2009

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Leon Kossoff: From the Early Years 1957-1967 at Mitchell-Innes & Nash


Commensurate with their disconcerting depth, Kossoff’s early paintings are literally and metaphorically heavy. The defiant sweeps of brush resemble nothing so much as tire tracks on a sodden road.

Monday, March 9th, 2009

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Bonnard: Drawing Color, Painting Light


For Bonnard drawing was sensation, and taking possession of the image. The next step was the translation of these notations into color, not local color, but the color that came from his interior logic.

Sunday, March 1st, 2009

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Nancy Haynes: Dissolution at Elizabeth Harris Gallery


As one grasps the combination of flatness, space, and light in Haynes’ paintings, the subtleties of her sophisticated palette and tonal gradations reveal a seductive luminosity.

Sunday, March 1st, 2009

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Francesca DiMattio at Salon 94 and Salon 94 Freemans


However closely she references classical, renaissance and modernist genres, her paintings never lapse into nostalgia, but instead give off an arch contemporary emotion.

Sunday, March 1st, 2009

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Brooklyn DIY: A Story of Williamsburg Art Scene 1987-2007 directed by Martin Ramocki


In Julian Schnabel’s film Basquiat, the title character, exemplar of the flameout credo of the East Village, is assisting an artist-installer at the Mary Boone Gallery.  This mediocrity, played by Willem Da Foe, attempts to counsel the hero about the benefits of a reliable day job.  Basquiat replies that someday he would show on those very…