criticismExhibitions
Tuesday, April 21st, 2020
The American artist Kara Walker poses questions about slavery’s history and legacy with a major UK commission. ...
Wednesday, April 8th, 2020
The work of earlier artists can be found in scenes from this expat Russian painter’s adolescence. ...
Sunday, March 3rd, 2019
A derangement of the senses is arrived at via multifarious stimuli ...

Sunday, May 24th, 2015

Flying Aces: Malcolm Morely at Sperone Westwater

The realist painter loosens up with new assemblages of warships and planes.

Friday, May 22nd, 2015

Eruption: Louise Despont’s Colorful, Vivid Drawings

New drawings at Nicelle Beauchene, with tropical patterns and Art Brut style.

Joan Semmel, Purple Diagonal, 980. Oil on canvas, 78 x 104 inches. Courtesy of the artist and Alexander Gray Associates.
Tuesday, May 19th, 2015

Exposed: Shows by June Leaf and Joan Semmel

Two concurrent exhibitions by women painters, about the body, its love, and labors.

Friday, May 8th, 2015

“The sky has entered our senses”: Paintings by Etel Adnan

New work by the poet and painter, reviewed by one of artcritical’s poet-critics.

Thursday, May 7th, 2015

Philip-Lorca diCorcia on America’s Sins

The photographer’s new series connects the financial crisis to biblical narratives of guilt and redemption.

Friedel Dzubas, Heath Cote (sketch), 1976. Magna acrylic on canvas, 6½ x 6½ inches. Courtesy Loretta Howard Gallery.
Wednesday, May 6th, 2015

Friedel Dzubas: Thesis/Antithesis/Synthesis

Works from the 1960s and 1970s in shows at Elkon and Loretta Howard

Bill Jensen, Mountain Tiger-Sky, 2013. Oil on linen, diptych, 40 x 32 inches overall. Courtesy of Cheim & Read Gallery
Tuesday, May 5th, 2015

Loom of Origins: Bill Jensen’s Way of Developing

A one-man group show of possibilities at Cheim & Read

Monday, May 4th, 2015

Richard Diebenkorn at the Royal Academy: Six Painters on a Painters’ Painter

A visit and discussion at Richard Diebenkorn’s Royal Academy retrospective.

Tuesday, April 28th, 2015

Jonathas de Andrade: Subverting Cheap Labor and Racism in Brazil

The Brazilian artist’s first New York solo show examine’s South America’s complicated relationship to race and labor.

Tom Fairs, Untitled, 1988. Pencil on paper, 7 x 4-3/4 inches. Courtesy of Kerry Schuss
Sunday, April 26th, 2015

Not A Single Link Too Loose: Tony Feher/Tom Fairs

An inspired coupling at Kerry Schuss on the Lower East Side