May 25, 2015
Al Loving, Barbara in Spiral Heaven, 1989. Mixed media on paper. Collage. 93 1/2 x 141 inches. Courtesy the Estate of Al Loving and Garth Greenan Gallery, New York
May 21 was a good night for openings. I got to two, both at 529 West 20th Street. The one I'd come to see, and will discuss below, was “Al Loving”
at Garth Greenan
(through June 27). The other was “Shades of Paint”
, a multifaceted group show at André Zarre
(through June 24). (more…)
May 16, 2015
Larry Poons. Angle of Landscape, 2014. Acrylic on canvas, 64 5/8 x 97 3/4 inches. Courtesy Danese/Corey.
It is truly amazing, how fertile is the invention of Larry Poons,
still going strong at 77. Even more amazing is how successful are so many of the works in “Larry Poons: New Paintings”
(through May 29).
Abstract expressionism, Monet
lily pads and steamy (more…)
April 26, 2015
Friedel Dzubas, Chenango, 1973. Acrylic (Magna) on canvas, 46 x 172 inches. Courtesy Loretta Howard Gallery.
Sometimes an artist is too big for one gallery. Take Friedel Dzubas
, currently featured at Loretta Howard
in Chelsea and Elkon
on the Upper East Side. Each exhibition offers a different aspect of Dzubas—and both fit right into their neighborhoods.
In a nutshell, Chelsea values process, while the Upper East Side digs serenity. Dzubas, though he died in 1994, was – and remains – able to excel in both. (more…)
April 15, 2015
Walter Darby Bannard, Yellow Rose #1, 1963. Alkyd Resin on canvas, 66 3/4 x 62 3/4 inches. Courtesy Berry Campbell Gallery.
I have two problems with the semantics surrounding the exhibition I am about to review. I have no problems whatsoever with the exhibition itself, which is a model marriage between modernism and minimalism, a true beauty.
The show I allude to, of course, is “Walter Darby Bannard: Minimal Color Field Paintings 1958-1965,”
at Berry Campbell
(through April 18). (more…)
April 9, 2015
Mark Grotjahn. Untitled (Circus No. 1 Face 44.18). 2012. Oil on cardboard mounted on linen. 8’ 5 1/2” × 72 1/2” (257.8 × 184.2 cm). Collection Donald B. Marron, New York. Courtesy Mark Grotjahn. Copyright Mark Grotjahn. Photo: Douglas M. Parker Studio
Ever since they did their best to lay the ghost of that wicked old formalist art historian, Heinrich Wölfflin
, back around 1970, a great many younger art historians have tried oh-so-hard to put the art they discuss into a politico-socioeconomic context. I, by contrast, think art history should be put in a context, or contexts— not only a politico-socioeconomic one but more importantly an artistic one.
Therefore I am bracketing my (two-part) report on the 103rd annual conference of the College Art Association
(held from February 11 to February 14, 2015) with at least two major art shows, one that I saw for the first time before the conference, and one that I saw just after. (more…)
March 22, 2015
Jason Karolak, "Untitled (P-1437), 2014. Oil on linen, 20 x 17 inches, JK10177. Courtesy McKenzie Fine Art, NY.
On January 23, Holland Cotter
sniffed in The New York Times at “the current craze for abstraction.” He dissed it again on February 27, suggesting that his readers might be fed up with “brain-dead abstraction.”
To me (& most of my friends), the idea of a “craze for abstraction” comes under the heading of NEWS, since The Paper of Record devotes most of its coverage of contemporary art to (more…)
March 22, 2015
Dee Solin, "Cosmic Night," 2015. Acrylic on canvas, 64 x 70 inches. Photo courtesy the artist.
Before I go into the differences between the exhibitions of Jason Karolak
and Dee Solin
, let me set the stage.
Both artists had been new, or relatively new to me. I’d seen some paintings by Solin in the past few years, but had no broad knowledge of her work.
Still less did I know Karolak. (more…)
March 11, 2015
Giovanni Battista Piranesi, View of the Temple of Neptune, Looking South-West (study for plate X of the Différentes vue de Pesto), ca. 1777-78. Pen and brown ink and wash over black chalk, and red chalk,heightened with white on pape. Courtesy of the Trustees of Sir John Soane's Museum, London
For the benefit of any of my readers who may not be hard-core modernists, the Morgan Library & Museum
at present is devoting most of its exhibition space to literature, politics, and the more buzzy sorts of the contemporary. If you want more details, I am sure you can find them at the Morgan's excellent website.
However, for the benefit of those benighted few who (more…)
March 5, 2015
Alexander Stavenitz, Unemployed, 1930. Aquatint and carborundum, 15 1/2 x 10 in. Mary and Leigh Block Museum of Art, Northwestern University, 1993.14
As most of my readers know , I'm interested in politics & write about them occasionally, but mostly, I like to keep them & my esthetics in separate postings (among other reasons, because not all readers who share my esthetic orientation also share my political one). Occasionally, however, I feel the need to comment on an exhibition whose presentation of political "history" doesn't square with my own experience of the history in question (readers who don't share my political orientation are advised to skip this posting).
The show under discussion is “The Left Front: Radical Art in the ‘Red Decade,’ 1929-1040,”
at NYU’s Grey Art Gallery
(through April 4). I got the press release for this show, glanced at it and put it toward the tail end of my priorities, but then a friend called to my attention (more…)
February 25, 2015
"The New York School, 1969." Left to right: Motherwell, Smith, Frankenthaler. Courtesy of Paul Kasmin Gallery.
The big mid-winter show at Paul Kasmin
is entitled, “The New York School, 1969: Henry Geldzahler at the Metropolitan Museum of Art”
(through March 14).
As curated by Stewart Waltzer
, it aims to recreate the excitement aroused in the fall of 1969 by “New York Painting and Sculpture 1940 – 1970.” (more…)