posted 10/27/2009
PIRI HALASZ on Dan Christensen at Spanierman Modern |
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Facture is neither painterly nor hard-edged geometric, but in between–straight edges that nonetheless exude life.
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posted 10/24/2009
KAREN GOVER on Rebecca Warren at Matthew Marks |
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She seems to be simultaneously poking fun at tradition and at the same time leveling a serious challenge against it, all the while acknowledging that she cannot simply reject her artistic heritage.
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posted 10/8/2009
REUBEN M. BARON AND JOAN BOYKOFF BARON on Jack Tworkov at the UBS Art Gallery |
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Seldom has a better synthesis been achieved among raw power, exquisite color, and the organizing effects of line.
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posted 10/8/2009
DAVID BRODY on Elliott Green at D'Amelio Terras |
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Green’s current paintings supplant his earlier “limited animation” mock-mayhem with the saturated glazes and rendered anatomies of a Golden Age chipmunk fable
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posted 10/8/2009
JONATHAN GOODMAN on Ted Kurahara at Walter Randel |
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If we are hesitant to use a term so absolute as “the absolute,” we can, even so, acknowledge the extreme philosophical drive in Kurahara’s esthetic
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posted 10/7/2009
STEPHANIE BUHMANN on Mark Bradford and Kara Walker at Sikkema Jenkins |
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To Walker and Bradford alike, density of visual information is an aesthetic choice that mirrors the mutliple layers of reality and complexity retrieved from subject matter
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posted 10/4/2009
JONATHAN GOODMAN on A.R. Penck at Michael Werner |
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Saving the imagery from what we might call barbarous chaos is Penck’s highly skilled orientation and spacing of the visual components of an individual work.
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Essay
The Roofer's Son: Watteau at the Met by JOE FYFE
I don't know how one can love Watteau without somehow making him one's contemporary.
Tribute
ISABELLE DERVAUX on the late Hyman Bloom
Bloom had inherited a blend of mysticism and harsh realism, reminiscent of Isaac Bashevis Singer |
