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Friday, September 11th, 2015
Gabriel A. Maher, DE___SIGN (video), 2014. Courtesy of the artist
an exhibition at the intersections of craft, gender and modernism ...
Wednesday, September 9th, 2015
The proceedings of a recent symposium on af Klint’s work have been compiled into a new book. ...
Wednesday, August 12th, 2015
Andrew Forge, Willow, 1999. Oil on canvas, 42 x 44 inches. Courtesy of Betty Cuningham Gallery
Parallel qualities in painter and composer sustain a connection between the two ...

Meyer Schapiro, Slipped Grid, 3-Jul-79 1979. Oil on plasterboard, 7 x 10 inches Estate of Meyer Shapiro
Thursday, February 17th, 2005

The Continuous Mark: 40 Years of the New York Studio School

New York Studio School 8 West 8th Street New York NY 10011 212 673 6466 February 17 to May 7, 2005 The New York Studio School of Drawing, Painting, and Sculpture is housed in a nationally land marked building on 8th Street – a maze-like architectural wonder that combines four Victorian townhouses, mews carriage houses, … Continued

Salvador Dalí, Archaeological Reminiscence of Millet's "Angelus", 1933-35. Oil on panel, 12-1/2 z 15-1/2 inches Salvador Dalí Museum, St Petersburg, Florida
Sunday, May 30th, 2004

From Critical Paranoia to Uncritical Banality: 100 Years of Salvador Dalí and 25 of Jeff Koons

The Dalí centenary and an American acolyte

Jeremy Blake, Reading Ossie Clark, 2003. Six stills from the DVD Courtesy Feigen Contemporary
Sunday, February 1st, 2004

Notes on Jeremy Blake

Can video become the new painting? Not just in the art scene, where video takes an ever larger slice of the exhibition pie, but in the aesthetic sense as well. “Autumn Almanac,” a recent show by Jeremy Blake at Feigen in Chelsea has me wondering.

Mark Lombardi, Charles Keating, ACC, and Lincoln Savings, ca. 1978-90 (5th Version), 1995. Colored pencil and graphite on paper, 31-3/4 x 46-1/4 inches, Collection of Sarah-Ann and Werner H. Kramarsky
Saturday, November 1st, 2003

Mark Lombardi

Emotional intent is often ascribed to a sensitively rendered line, but to what extent can we say other information – intellect, curiosity, politics – are being transmitted in that same line? Put another way, how much of the spectrum can touch occupy in imparting content to a work of art? The question comes to mind thinking about “Global Networks”, the Independent Curators International exhibition of Mark Lombardi’s work at The Drawing Center in Soho, where twenty-five major drawings by the late artist are currently on display.

Ellen Berkenblit, Pink Flowers on Fence, 2000. Oil on linen, 40 x 36 inches
Wednesday, October 1st, 2003

Notes on Ellen Berkenblit

Ellen Berkenblit has been one of my favorite artists for years. I visited her studio once in the mid-nineties, and have done my best to see her shows whenever possible. A painter of expressionist, hermetic narratives, Berkenblit’s work can be simultaneously colorful, dark, moody, and humorous. With her recurring cast of characters – that include … Continued

Gary Hume, Kate, 1996. Gloss paint and paper on aluminium panel, 82 x 46 inches, Courtesy Jay Jopling/White Cube (London
Thursday, August 28th, 2003

Kate Moss

Whatever it says in “The Wasteland,” from an art critic’s point of view, August is the cruelest month. Even the lingering group shows, the staple summer fare, peter out in the weeks before Labor Day. After Labor Day, la deluge, but when New York newspapers that usually don’t venture north of 90th Street start to … Continued

Karin Davie, Pushed, Pulled, Depleted & Duplicated #7, 2002. Oil on canvas, 84 x 108 inches, all images courtesy of Mary Boone Gallery
Tuesday, July 1st, 2003

Notes on Karin Davie

Karin Davie at Mary Boone Gallery, New York

Joan Miró Untitled Drawing February 1, 1965. Ballpoint pen on paper, 7 7/8 x 5 7/8 inches, Collection of the Fundació Pilar i Joan Miró, Mallorca
Tuesday, April 1st, 2003

Joan Miró: The Semiotics of Desire

The Shape of Color: Joan Miró Painted Sculpture
Corcoran Gallery of Art, Washington DC, September 21, 2002-January 6, 2003; Salvador Dali Museum, St. Petersburg, Florida, February 1-May 4, 2003. Catalogue by Laura Coyle, William Jeffett, Joan Punyet Miró, published by Scala and Corcoran

Elizabeth Peyton, Paradis (Kirsty), 2001. Oil on boar,d 40 x 30 inches, courtesy Gavin Brown's Enterprise, Corp.
Wednesday, January 1st, 2003

John Currin

Yale professors are telling their students that John Currin paints as well as Botticelli. I heard this yesterday from a young painter who was sent my way for career advice. Yale has probably the most illustrious art school in America. Its alumni litter the firmament; Currin (who was born in 1962 and is the hottest ticket this season) is only the most recent ascendant star.

Sergei Bugaev, still from "Stalker 3", courtesy I-20 Gallery
Friday, November 1st, 2002

Those that sleep in the dust

Ethical issues surrounding the depiction of death in art, considering Stalker 3, the recent video installation by Sergei Bugaev, aka Afrika, at I-20 Gallery.
November 2 – December 14, 2002