What with finessing the installation and a checklist of 41 artists (who are also editors, writers, interns and staff at artcritical and/or guest speakers on The Review Panel) I managed to forget to secure the services of a photographer. Luckily several guests had cell phones to hand, and extra shots have found their way to us via social media. An ad hoc arrangement which fits nicely with the collective and impromptu nature of the show.

Click on the photo below to launch the slideshow.

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click any image to view in slide show with captions

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artcritical‘s holiday season party for writers and editors, speakers on The Review Panel, advertisers and friends was graciously hosted this year by painters Sean Scully and Liliane Tomasko in their Chelsea studio. In what has become something of an artcritical tradition some of our regular panelists and writers read from a classic text, this year an excerpt from part one of Oscar Wilde’s dialogue, The Critic as Artist.

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Photographs by ANNA SHUKEYLO.  Click first image to activate slide show.

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Photographs by Robin Siegel, Installation shots by Allyson Shea, Report by David Cohen
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A Mark Greenwold show is hardly less rare than a new painting from this OCD master of minutiae:  to give the fellow a normal-sized show you pretty much need to stage a mini-survey.  That’s what his new dealers,  Sperone Westwater, have done for the veteran fantasy realist on the third floor of their Norman Foster-designed railroad gallery on the Bowery, in a show that takes its title from a line of Stanley Cavell’s hand-inscribed at its entrance: “The cause of tragedy is that we would rather murder the world than permit it to expose us to change.”

His admirers were out in force the Friday night of Frieze weekend, including a number of sitters in his bizarre psycho-dramas.  Amongst the latter category were Chuck Close and James Siena who besides their visages and birthday suits also contribute to Greenwold’s visual vocabulary in the form of their trademark pictorial marks – Close’s lozenges, Siena’s algorithmic zags – that the artist uses as kind of thought bubbles hovering over his dramatis personae’s heads.

In his New York Sun review of Greenwold’s last survey, at DC Moore Gallery in the Fall of 2007, artcritical editor David Cohen wrote in terms that still apply that “Mr. Greenwold revels in capturing each hair on a dog, or each thread in a carpet, with a nutty regard for exactitude

Like psychoanalysis, around which these strange dramas revolve, Mr. Greenwold’s painting mode supposes that no detail is to be ignored and that time is no object. Psychoanalysis is the key — if not to decoding these bizarre, narcissistic soul dramas, then at least to understanding the strange genre in which they occur. For Mr. Greenwold’s pictures occupy an ambiguous space nestled between allegory and narrative. Each of the figures feels highly isolated, and yet each one plays a function in relation to the action unfolding around them all.

On view at 257 Bowery between Houston and Stanton streets, New York City, 212.999.7337 through June 28, 2013

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NEW YORK CITY: Wednesday, April 10.  The Drawing Center honored Sean Scully at its annual gala this year in true Irish style with the artist’s buddy Bono proposing a raucous, poetic toast.  The honoree responded in kind with a stirring tribute to his hosts. Bucking a trend in which institutions double their footprint or decamp to trendier locales as soon as the itch to expand takes hold, the Drawing Center, under long serving executive director Brett Littman, has remained true to their roots in SoHo, skillfully reshaping and upgrading their premises but staying put on Wooster Street and in the idea of drawing, albeit in a seemingly ever-expanding definition of the activity. Scully’s traveling exhibition, Sean Scully: Change and Horizontals, currently in Rome, focusing on a key transitional year in the 1970s, was organized by the Drawing Center, where it will show this fall.  The gala, meanwhile, at the Tribeca Rooftop, attracted an assortment of the artist’s rock star friends, including one from the kitchen!

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Photos by Manuel Arjona

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