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George Sugarman, Yellow and White, 1967. Oil on Wood, in two parts, 25-1/2 x 35-1/2 x 27-1/2 each. © Estate of George Sugarman, courtesy Gary Snyder Gallery, New York
“Irving Sandler: Out of Tenth Street and Into the 1960s” is at Loretta Howard Gallery ...
 
Still from a video by Piaget Crenshaw showing the body of Michael Brown with Officer Darren Wilson.
Examining and learning from the images from Ferguson, MO. ...
 
Honore Daumier, Galerie Tableaux. Image taken from Wikimedia Commons, the free media repository.
What differentiates a “gallerist” from a dealer or a curator? ...
 


Mezzetin (Mezetin) 1717-19 . Oil on canvas; 21-3/4 x 17 inches. The Metropolitan Museum of Art, New York, Munsey Fund, 1934 (34.138)

The Roofer’s Son: Watteau at the Met


I don’t know how one can love Watteau without somehow making him one’s contemporary.


John Currin. The Hobo, 1999. Oil on canvas, 40 x 32 in. Collection of the Museum of Contemporary Art San Diego, Museum purchase, Contemporary Collectors Fund. Photographer: Pablo Mason.

Paint Made Flesh at the Phillips Collection


Paint Made Flesh at the Phillips Collection, and other shows this summer, reveal a love affair between a material painters use and the material all of us are.


Friedel Dzubas, Friedel Dzubas, Bornholm, 1978. Acrylic on canvas, 37 x 76 inches. Courtesy of Elaine Baker Gallery for Samuel Minzberg

Multireferential Imagery


This essay is an extract from A Memoir of Creativity: abstract painting, politics and the media, 1956-2008 published by iUniverse, 2009. The book unites art theory, politics, journalism and personal memoir. At its heart lies the author’s theory of abstract art, that instead of being non-representational, it constitutes a “multireferential” form of representation.


Jackson Pollock, Full Fathom Five, 1947. Oil on canvas with nails, tacks, buttons, key, coins, cigarettes, matches, etc., 50-7/8 x 30-1/8 inches. The Museum of Modern Art, New York. Gift of Peggy Guggenheim; Digital Image © The Museum of Modern Art / Licensed by SCALA / Art Resource, NY © 2008 The Pollock-Krasner Foundation / Artists Rights Society (ARS), New York

Abstract Expressionism and the American Experience


Professor Sandler locates the aesthetics and values of the New York School within the context of the postwar milieu.


Giorgio Morandi, Giorgio Morandi, Still Life (Natural Morta) 1953. Oil on canvas, 8 x 15-3/4 inches, Washington DC, The Phillips Collection © Giorgio Morandi by SIAE 2008

Giorgio Morandi: Resistence and Persistence


GIORGIO MORANDI: Resistence and Persistence BY SEAN SCULLY On the occasion of Giorgio Morandi 1890-1964 at the Metropolitan Museum of Art, September 16 to December 14, 2008, we post abstract painter Sean Scully’s 2005 essay on his Italian forebear. This essay was first published in Sean ScullyResistance and Persistence: Selected Writings Edited by Florence Ingleby, (Merrell,…


Mark di Suvero and Rirkrit Tiravanija (and invited artists), Peace Tower, installation at Whitney Museum

Whitney Biennial and Tate Triennial 2006


It may not be a fair comparison but you can’t help wondering: How can the Whitney Biennial be so exciting and the Tate Triennial so tedious when both are showcasing the same kind of contemporary art on either side of a well-traversed pond?


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James Siena


Can an artwork, and by extension the artist, be considered obsessive? James Siena: Selected Paintings and Drawings, 1990 – 2004, the artist’s 2004 mini-retrospective at Daniel Weinberg’s L.A. gallery would certainly seem to beg the question. Fastidiously installed in the gallery’s two exhibition spaces, the nineteen modestly scaled works – none larger than 29 x 23 inches – contain thousands upon thousands of concentrated brushstrokes.


Meyer Schapiro, Slipped Grid, 3-Jul-79 1979. Oil on plasterboard, 7 x 10 inches Estate of Meyer Shapiro

The Continuous Mark: 40 Years of the New York Studio School


New York Studio School 8 West 8th Street New York NY 10011 212 673 6466 February 17 to May 7, 2005 The New York Studio School of Drawing, Painting, and Sculpture is housed in a nationally land marked building on 8th Street – a maze-like architectural wonder that combines four Victorian townhouses, mews carriage houses,…


Salvador Dalí, Archaeological Reminiscence of Millet's "Angelus", 1933-35. Oil on panel, 12-1/2 z 15-1/2 inches Salvador Dalí Museum, St Petersburg, Florida

From Critical Paranoia to Uncritical Banality: 100 Years of Salvador Dalí and 25 of Jeff Koons


The Dalí centenary and an American acolyte


Jeremy Blake, Reading Ossie Clark, 2003. Six stills from the DVD Courtesy Feigen Contemporary

Notes on Jeremy Blake


Can video become the new painting? Not just in the art scene, where video takes an ever larger slice of the exhibition pie, but in the aesthetic sense as well. “Autumn Almanac,” a recent show by Jeremy Blake at Feigen in Chelsea has me wondering.