Report from the Front

Art criticism, sometimes with context, occasional politics. Published in hard copy 5-7 times a year. New shows: "events;" hard-copy rates & how to support the online edition: "works."

A TALE OF TWO BOROUGHS

May 25, 2017

Tags: Dana Gordon, William Gropper, Fran Kornfeld, Willard Boepple, Eleanor Steidadler, Hoffman, Miró

Joan Miró, "Femmes au bord du lac à la surface irisée par le passage d’un cygne (Women at the Edge of the Lake Made Iridescent by the Passage of a Swan)," Palma de Mallorca, May 14, 1941. Gouache and oil wash on paper, 18 1/8 x 15 inches (46 x 38 cm). Private Collection. © 2017 Successió Miró / Artists Rights Society (ARS), New York / ADAGP, Paris.
I suffer from anti-snob snobbery. I fight it as some shows & venues have good art despite being chic. Brooklyn additionally irks me because our mayor, Bill de Blasio, boasts of being a Brooklynite and wouldn’t move into Gracie Mansion, the mayor’s elegant official residence in Manhattan, for donkey’s years. Here, however, I will report on five Brooklyn shows and two in Manhattan. What do they prove? We shall see. (more…)

"DRAWING SURREALISM" AT THE MORGAN

May 19, 2013

Tags: Masson, Miró, Dalí, Ernst, Leonora Carrington, Gerome Kamrowski

Max Ernst (1891-1976). Le start du châtaigner (The Start of the Chestnut Tree), 1925. Frottage with graphite pencil, and gouache. The Morgan Library & Museum, New York. Gift of Walter Feilchenfeldt in honor of Eugene and Clare Thaw, 2011.28 (c) 2012 Artists Rights Society (ARS), New York/ADAGP Paris. Photography by Graham S. Haber, 2012.
Occasionally, a show is mounted that neither stirs me personally nor makes me feel that most of my readers would want to see it, but that I still feel deserves a review (even if I am not the right person to write it). Why? Because so much time & effort & maybe even love have gone into its creation, and because (more…)

AROUND & ABOUT

November 26, 2010

Tags: Francine Tint, Gregory Coates, Hofmann, Arthur Simms, E. Peter Schroeder, Stieglitz, Miró, Harry Houdini, Thomas Nozkowski, John Baldessari

A number of shows that I’ve seen in the past month merit attention, mostly because of their quality (though sometimes for other reasons).

At the top of this list is “Divine Influence: Past and Present” at Wilmer Jennings (through December 31). Billed as “contemporary abstract art and items from the Merton D. Simpson (more…)