What you bump into when you stand back from a photograph
The Original Copy: Photography of Sculpture, 1839 to Today at the Museum of Modern Art, through November 1
![William Kentridge, Drawing for the film Sobriety, Obesity & Growing Old [Soho and Mrs. Eckstein in Pool], 1991. Charcoal and pastel on paper, 47-1/4 x 59 inches. Collection of the artist © 2010 William Kentridge. Photo: John Hodgkiss, courtesy the artist](https://artcritical.com/app/uploads/2010/06/Kent-300x199.jpg)
Taking the World by Drawing: William Kentridge and Animation
Where should we locate Kentridge’s sequential, continuous drawing within the eye-popping history of drawn animation?
The Visitor: Vermeer’s Milkmaid at the Met
September 10 to November 29, 2009
The Roofer’s Son: Watteau at the Met
I don’t know how one can love Watteau without somehow making him one’s contemporary.
Paint Made Flesh at the Phillips Collection
Paint Made Flesh at the Phillips Collection, and other shows this summer, reveal a love affair between a material painters use and the material all of us are.
Multireferential Imagery
This essay is an extract from A Memoir of Creativity: abstract painting, politics and the media, 1956-2008 published by iUniverse, 2009. The book unites art theory, politics, journalism and personal memoir. At its heart lies the author’s theory of abstract art, that instead of being non-representational, it constitutes a “multireferential” form of representation.
Abstract Expressionism and the American Experience
Professor Sandler locates the aesthetics and values of the New York School within the context of the postwar milieu.
Giorgio Morandi: Resistence and Persistence
GIORGIO MORANDI: Resistence and Persistence BY SEAN SCULLY On the occasion of Giorgio Morandi 1890-1964 at the Metropolitan Museum of Art, September 16 to December 14, 2008, we post abstract painter Sean Scully’s 2005 essay on his Italian forebear. This essay was first published in Sean ScullyResistance and Persistence: Selected Writings Edited by Florence Ingleby, (Merrell, … Continued
Whitney Biennial and Tate Triennial 2006
It may not be a fair comparison but you can’t help wondering: How can the Whitney Biennial be so exciting and the Tate Triennial so tedious when both are showcasing the same kind of contemporary art on either side of a well-traversed pond?
James Siena
Can an artwork, and by extension the artist, be considered obsessive? James Siena: Selected Paintings and Drawings, 1990 – 2004, the artist’s 2004 mini-retrospective at Daniel Weinberg’s L.A. gallery would certainly seem to beg the question. Fastidiously installed in the gallery’s two exhibition spaces, the nineteen modestly scaled works – none larger than 29 x 23 inches – contain thousands upon thousands of concentrated brushstrokes.
