Writings by Robert C. Morgan

Joseph Kosuth, Titled (Art as Idea as Idea), 1968. 10 mounted photographs, 48 x 48 inches each, installed in the exhibition under review. Courtesy of Sean Kelly Gallery, New York

Beckett on a Heideggerian Horizon: Joseph Kosuth at Sean Kelly


The exhibition ran from March 30 – April 30, 2011


Marjorie Strider, Eyeful, 2010. Acrylic on canvas, 72 x 60 inches. Courtesy of Hollis Taggart Galleries

Girlies, Flowers, and Vegetable Delights: Marjorie Strider Rediscovered


on view at Hollis Taggart Galleries through April 2


Esteban Vicente, Untitled (Divertimento), c. 1968–95. Painted wood with pastel crayons, 11-7/8 x 4-3/4 x 3 -1/8 inches. Museo de Arte Contemporáneo Esteban Vicente, Segovia

Paragon of Modernism: Esteban Vicente at the Grey


NYU’s exhibition of his collage and sculpture is up through March 26.


Jannis Kounellis, Untitled / 12 Live Horses, Rome, 1969

Jannis Kounellis: Hard Materials, Transcendent Light


New monograph by Marc Scheps from Prestel


flack

What goes around… Audrey Flack’s Wheel of Fortune at Gary Snyder


Up through November 6, a show of the veteran photorealist reveals painstaking process and innovation.


Polaroid by Julian Schnabel of Mickey Rourke reproduced in the book under review. Courtesy Prestel Publishing

Purloined Destiny: Julian Schnabel’s Polaroids


Julian Schnabel: Polaroids by Petra Giloy-Hirtz is published by Prestel.


Jonathan Lasker, Lesson in Reality, 2010. Oil on canvasboard, 12 x 16 inches. Courtesy of Cheim & Read

When Hypothesis Trumps Quality: Le Tableau at Cheim & Read


Le Tableau at Cheim & Read, through September 3, curated by Joe Fyfe


Ross Neher, Faro, 2006. Oil on canvas, 31-1/2 x 33-1/4 inches. Courtesy of the Artist

A Revealing Illusionist: Renaissance-inspired Ross Neher’s geometric abstraction


Ross Neher: Sanctuary at 210 Gallery, South Brooklyn


Michael Goldberg, Sam Wells, 1962. Oil on canvas, 99-3/4 x 88-3/4inches. Courtesy Knoedler & Company

Michael Goldberg at Knoedler & Company


Given their extraordinary force and paradoxical restraint, these paintings represent the kind of psychic change that distinguishes the fifties from the sixties.


Dorothea Rockburne, Universe Series, 1994-99. Raw pigment, acrylic medium and charcoal on watercolor paper, mounted on ragboard, six panels, each 22 x 30 inches. Images courtesy of New York Studio School.

Dorothea Rockburne: Astronomy Drawings at the New York Studio School


These staggering images made it clear that the universe is an interconnected assembly of electrical circuits and that energy and matter are, indeed, infinite in their connectivity.