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Thomas Hirschhorn, Gramsci Monument, 2013, Forest Houses, Bronx, New York. Courtesy Dia Art Foundation. Photo: Romain Lopez.
…It made me proud to be an artist and a New Yorker ...
 
Honore Daumier, Galerie Tableaux. Image taken from Wikimedia Commons, the free media repository.
What differentiates a “gallerist” from a dealer or a curator? ...
 
Lucas Samaras in Claes Oldenburg’s Circus: Ironworks/Fotodeath at the Reuben Gallery, February 1961. © Robert R. McElroy/Licensed by VAGA, New York, New York
As this landmark show enters its last week at Pace Gallery, a profile of the man behind the camera ...
 


James Siena, Upside Down Devil, 1996. Enamel on aluminum, 19-1/4 x 15-1/8 inches

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


“Dalí: Mass Culture” continues at Fundació “la Caixa” until May 23, traveling thereafter to the Reina Sofia, Madrid; the Salvador Dalie Museum, St Petersburg, Florida; and the Museum Boijmans Van Beuningen, Rotterdam. “Jeff Koons: Highlights of 25 Years” C&M Arts until June 5 (45 E 78th Street, between Park and Madison Avenues, 212 861 0020…


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.


Mark Lombardi, Charles Keating, ACC, and Lincoln Savings, ca. 1978-90 (5th Version), 1995. Colored pencil and graphite on paper, 31-3/4 x 46-1/4 inches, Collection of Sarah-Ann and Werner H. Kramarsky

Mark Lombardi


Emotional intent is often ascribed to a sensitively rendered line, but to what extent can we say other information – intellect, curiosity, politics – are being transmitted in that same line? Put another way, how much of the spectrum can touch occupy in imparting content to a work of art? The question comes to mind thinking about “Global Networks”, the Independent Curators International exhibition of Mark Lombardi’s work at The Drawing Center in Soho, where twenty-five major drawings by the late artist are currently on display.


Ellen Berkenblit, Pink Flowers on Fence, 2000. Oil on linen, 40 x 36 inches

Notes on Ellen Berkenblit


Ellen Berkenblit has been one of my favorite artists for years. I visited her studio once in the mid-nineties, and have done my best to see her shows whenever possible. A painter of expressionist, hermetic narratives, Berkenblit’s work can be simultaneously colorful, dark, moody, and humorous. With her recurring cast of characters – that include…


Gary Hume, Kate, 1996. Gloss paint and paper on aluminium panel, 82 x 46 inches, Courtesy Jay Jopling/White Cube (London

Kate Moss


Whatever it says in “The Wasteland,” from an art critic’s point of view, August is the cruelest month. Even the lingering group shows, the staple summer fare, peter out in the weeks before Labor Day. After Labor Day, la deluge, but when New York newspapers that usually don’t venture north of 90th Street start to…


Karin Davie, Pushed, Pulled, Depleted & Duplicated #7, 2002. Oil on canvas, 84 x 108 inches, all images courtesy of Mary Boone Gallery

Notes on Karin Davie


Karin Davie at Mary Boone Gallery, New York


Joan Miró Untitled Drawing February 1, 1965. Ballpoint pen on paper, 7 7/8 x 5 7/8 inches, Collection of the Fundació Pilar i Joan Miró, Mallorca

Joan Miró: The Semiotics of Desire


The Shape of Color: Joan Miró Painted Sculpture
Corcoran Gallery of Art, Washington DC, September 21, 2002-January 6, 2003; Salvador Dali Museum, St. Petersburg, Florida, February 1-May 4, 2003. Catalogue by Laura Coyle, William Jeffett, Joan Punyet Miró, published by Scala and Corcoran


Elizabeth Peyton, Paradis (Kirsty), 2001. Oil on boar,d 40 x 30 inches, courtesy Gavin Brown's Enterprise, Corp.

John Currin


Yale professors are telling their students that John Currin paints as well as Botticelli. I heard this yesterday from a young painter who was sent my way for career advice. Yale has probably the most illustrious art school in America. Its alumni litter the firmament; Currin (who was born in 1962 and is the hottest ticket this season) is only the most recent ascendant star.