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Report from the Front

Art criticism, sometimes with context, occasional politics. Published in hard copy 2-4 times a year. New shows: "events;" hard copy rates & how to support the online edition: "works."


FYI: Carl Hazlewood & Friedel Dzubas

FYI: "Artcritical," a website which needs no introduction for my readers, has published my review of "Friedel Dzubas," a new book by Patricia Lewy.  Here's a link: Friedel Dzubas, by Patricia Lewy


And "Delicious Line," a new website edited by Franklin Einspruch, has published my review of Carl Hazlewood's show at June Kelly.   Here's a link: Carl Hazlewood at June Kelly


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Jung Ho Lee, Untitled IX, 2018.  Oil and acrylic on linen, 28 1/2 x 24 inches.  Courtesy Lichtundfire.




A show of contemporary art that I related to was "Remember When It Winter Was" (closed January 12). It was at held at Lichtundfire on the Lower East Side, and despite its political window-dressing, was (thankfully) mostly about the visual in art. Read More 

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Mark Rothko (1903–1970), Composition, 1941-42, oil on canvas, 28 1/2" x 24 1/2", signed; Courtesy of Michael Rosenfeld Gallery LLC, New York, NY

One historical show I related to – indeed, strongly related – was "Globalism Pops Back Into View: The Rise of Abstract Expressionism," at Michael Rosenfeld (closed January 25). 


This gallery has two specialties, abstract expressionism and African-American art.  By focusing on ab-ex in the early 1940s, before the movement went totally abstract, this show was also able to include a number of distinguished African-American artists who not even by the 1950s  had gone totally abstract, but who created some powerful paintings nevertheless.  In this context, everybody looks perfectly grand. Read More 

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Stuart Davis, Egg Beater No. 1, 1927, oil on linen. Collection of Whitney Museum of American Art, New York, gift of Gertrude Vanderbilt Whitney, 31.169. Artwork © Estate of Stuart Davis / Licensed by VAGA at Artists Rights Society (ARS), New York.


In 1906, a 6-year-old girl, Edith Gregoryevna Fivoosiovitch, migrated from Kyev (then in Russia, now in Ukraine) with her family to New York City.  She grew up to love art, study it and try to make it, but doesn't seem to have been very good at it herself. She therefore learned all about selling in Manhattan department stores and elsewhere. 


She married a painter, Samuel Halpert, became known as Edith Gregor Halpert, and in 1926 opened in Greenwich Village what was to become known as the Downtown Gallery.  The tale of this pioneering art dealer, the first to exclusively represent American moderns and American folk art, is told in absorbing detail by "Edith Halpert and the Rise of American Art" at The Jewish Museum (through February 9). Read More 

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