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, November 9th, 2008

Louisa Matthiasdottir: Selected Paintings at Tibor de Nagy Gallery

Throughout this retrospective selection of her work, one senses in Matthiasdottir a luminous reserve – a private temperament joyfully submitting to an exacting task. We’re rewarded with extraordinary evocations of the observed.

Monday, November 3rd, 2008

Mary Heilmann: To Be Someone at the New Museum and Mary Heilmann: Some Pretty Colors at Zwirner & Wirth

Heilmann often seems be daring herself to do something truly “awful”—only to find beauty in it…The accumulated brushmarks and open drips make her act of painting transliterate into a kind of crime of passion.

Saturday, November 1st, 2008

Abstract Expressionism: A World Elsewhere curated by David Anfam at Haunch of Venison

We need to understand properly the Americanness of Abstract Expressionism, without treating it either as a triumph of chauvinistic mythmaking or as an episode in the Cold War.

Baker Overstreet, Sequined Cyclone Sequence, 2008. Acrylic and latex on canvas, 48 by 62 inches. Cover NOVEMBER 2008: The Continental Bathosphere, 2008. Acrylic and latex on canvas, 62 by 48 inches. Images courtesy of Fredericks & Freiser, New York.
Saturday, November 1st, 2008

Baker Overstreet: Follies at Fredericks & Freiser

Baker Overstreet at Fredericks and Freiser

Friday, October 17th, 2008

Untitled (Vicarious): Photographing the Constructed Object at Gagosian Gallery

This adventurous photography survey, pairing historical and contemporary examples of sculptural construction and assemblage as subject matter, includes David Smith, László Moholy-Nagy, Peter Fischli & David Weiss, James Welling, Gregory Crewdson, Thomas Demand and Wolfgang Tillmans.

Wednesday, October 15th, 2008

Nick Miller: Truckscapes at the New York Studio School

Just as many Matisse drawings and paintings made in Nice in the 1920s and 30s incorporate a representation of himself making the work of art, so Miller includes images of his working space in his landscapes. The effect is to bring us into the working process.

Ching Ho Cheng, The Certainty of Blue IX, 1994. Charcoal, graphite and pastel on torn rag paper, 38-1/2 x 50 inches. Courtesy Shepherd & Derom Galleries.
Sunday, October 12th, 2008

Ching Ho Cheng at Shepherd & Derom Galleries

Ching Ho Cheng at Shepherd & Derom Galleries

Sunday, October 5th, 2008

Night

Nightfall can inspire fascination with the starry sky, optimistic hopes for fulfilled sexual desire, or at least anticipation of sleep. But it can also cause anxiety if you are lonely, which is why van Gogh described The Night Café (1988), at MoMA, as showing a place where “dark forces lurked and suppressed human passions could suddenly explode.”

Wednesday, October 1st, 2008

Janet Malcolm: “Burdock” at Lori Bookstein Fine Art

Janet Malcolm at Lori Bookstein Fine Art

Monday, September 29th, 2008

Rirkrit Tiravanija: Demonstration Drawings at the Drawing Center

There is a limited range of drawing styles, which tends to be competent enough but generally stilted, illustrative, and a bit nerdish. One wonders whether the difference in treatment that does come across is purely a matter of the individual draftsman’s hand or whether different speeds of movement in the scenes depicted — orderly placid drudging through dreary East European streets versus violent clashes with riot-geared police in some steamy tropical town — account for these differences.