Features
 
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 ...
 
A fresh take on Surrealism in abstraction and figuration ...
 
Honore Daumier, Galerie Tableaux. Image taken from Wikimedia Commons, the free media repository.
What differentiates a “gallerist” from a dealer or a curator? ...
 


a volcanic exhibition catalog: photograph by Joe Fyfe of a work by Roman Signer on view in his home, St Gallen, Switzerland, 2007

The Smell of Gunpowder: A visit with Roman Signer


Signer is a subject of this Friday’s Review Panel and a show at the Swiss Institute


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Time out of Mind: On Deborah Garwood’s Evans Pond


Garwood’s Evans Pond series showed at the Fundación Antonio Pérez, Cuenca, Spain this summer


Laura Newman, Rorschach, 2012. Oil and acrylic on canvas, 24 x 32 inches. Courtesy of Jen Bekman Gallery

Never Trust a Laura Newman Vertical


Laura Newman: Recent Paintings is at Jen Bekman through October 14th


Charles Burchfield, An April Mood, 1946–1955, Watercolor and charcoal on joined paper, 40 × 54 inches, Courtesy Whitney Museum of American Art, Purchase, with partial funds from Mr. and Mrs. Lawrence A. Fleischman

A current of his own: Charles Burchfield at the Whitney


Heatwaves in a Swamp: The Paintings of Charles Burchfield is at the Whitney until October 17


Rug by James Siena, Courtesy of BravinLee Programs

Where contemporary art can get knotted: Kathmandu


BravinLee Programs presents hand-knotted rugs by Nina Bovasso, Peter Halley, James Siena, and James Welling


Michael Craig-Martin, An Oak Tree, 1973. Glass, water, shelf and printed text, dimensions vary. Private Collection

The Arts Died with Dada: Roy Harris and the Great Debate About Art


In depth review of the semiotician’s pointed pamphlet on the end of art criticism


Rogert Fenton, The Third Graeco-Roman Saloon on Artists' Day, c. 1857. Albumen print, 10 5/16 x 11 9/16 inches. The Royal Photographic Society Collection at the National Media Museum, Bradford. Purchased with the assistance of The Art Fund

What you bump into when you stand back from a photograph


The Original Copy: Photography of Sculpture, 1839 to Today at the Museum of Modern Art, through November 1


Joe Fyfe, After Corot, 2007. Felt, cotton and jute, 54 x 64 inches. Courtesy of Cheim & Read Gallery

Orgy in the Raw: Joe Fyfe’s “Le Tableau” at Cheim & Read


A geographically and historically wide-angled summer group exhibition.


James Hyde, Big Sample (Davis), 2006. Acrylic sign painter's enamel on vinyl digital print (stretched), 112 x 150 inches. Courtesy of Pierogi 2000

Billboard Syncopations: James Hyde at the Boiler Room (Pierogi 2000)


The Stuart Davis Group are high jinks riffs on that jazzy pioneer’s painterly syncopations.


William Kentridge, Drawing for the film Sobriety, Obesity & Growing Old [Soho and Mrs. Eckstein in Pool], 1991. Charcoal and pastel on paper, 47-1/4 x 59 inches. Collection of the artist © 2010 William Kentridge. Photo: John Hodgkiss, courtesy the artist

Taking the World by Drawing: William Kentridge and Animation


Where should we locate Kentridge’s sequential, continuous drawing within the eye-popping history of drawn animation?