Heatwaves in a Swamp: The Paintings of Charles Burchfield is at the Whitney until October 17
BravinLee Programs presents hand-knotted rugs by Nina Bovasso, Peter Halley, James Siena, and James Welling
In depth review of the semiotician’s pointed pamphlet on the end of art criticism
The Original Copy: Photography of Sculpture, 1839 to Today at the Museum of Modern Art, through November 1
Where should we locate Kentridge’s sequential, continuous drawing within the eye-popping history of drawn animation?
I don’t know how one can love Watteau without somehow making him one’s contemporary.
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.
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.
Professor Sandler locates the aesthetics and values of the New York School within the context of the postwar milieu.