Features
 
Jessica Cheung, Self Portrait, from the Umbrella Revolution series, 2014, unfinished.
Statement of artist protester Jessica Cheung and comment by David Cohen ...
 
George Trakas, Times Plaza Tree, 2011. Pencil on vellum, 8.5 x 11 inches. Courtesy of the artist.
The renowned site-specific sculptor has been facing delays in the completion of his recent project at Atlantic Station. ...
 
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 ...
 


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


click to enlarge

Terrestial Breezes and Solar Winds: A studio visit with Roberto Juarez


A TOPICAL PICK FROM THE ARCHIVES: 2010 Studio Visit marks residency/show at La Galleria La Mama


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?


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,