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 ...
 
Ohad Meromi, still from Worker! Actor! Smoker!, 2010-13. Single-channel video, 20:36 minutes. Courtesy of the artist, Galerie Triple V, and Nathalie Karg.
Ohad Meromi’s exhibition at Nathalie Karg continues through August 15. ...
 
Koons’s retrospective at the Whitney Museum of American Art continues through October 19. ...
 


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?


Mark di Suvero, Nova Albion, 1964-65. Steel and wood, 24 x 20 x 27 feet. Courtesy Paula Cooper Gallery, New York. Photo: Ellen Page Wilson.

Engineering Optimism: Mark di Suvero at Paula Cooper Gallery


Soaring forms engender a fearless sense of conquest


John Giorno, Just Say No To Family Values, 2009. Oil on canvas, 12 x 12 inches. Courtesy of Nicole Klagsbrun Gallery

Twister: John Giorno at Nicole Klagsbrun


In his debut art show the septuagenerian poet shows wittily and nihilistically twisted truisms


Alex Katz, Anna Wintour, 2009. Oil on canvas, 60 x 84 inches. Courtesy Timothy Taylor Gallery

Warm for Wintour: Alex Katz at the National Portrait Gallery


“September Issue” star Anna Wintour is coaxed into shedding her trademark shades


Suzan Frecon, embodiment of red (soforouge), 2009. Oil on linen, two panels, each 54 x 87-1/2 inches. Courtesy of David Zwirner Gallery

Seeing Red


Suzan Frecon, currently showing works on paper at David Zwirner, was reviewed at the 2010 Whitney Biennial,


steir-detail

Cry Stall Gaze: A Collaboration with Pat Steir


Poem and artwork unfold as twin scrolls.


Johannes Vermeer, The Milkmaid (about 1657–58). Oil on canvas, 17-7/8 x 16-1/8 inches. Rijksmuseum, Amsterdam, Purchase, 1908, with aid from the Rembrandt Society

The Visitor: Vermeer’s Milkmaid at the Met


September 10 to November 29, 2009


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.