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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."

 

PEREHUDOFF AT BERRY CAMPBELL: RADIANCE FROM THE NORTH

William Perehudoff (1918 - 2013), AC-87-85, 1987. Acrylic on canvas, 55 5/8 x 53 7/8 in. (141.3 x 136.8 cm). © Perehudoff Artwork. Courtesy Berry Campbell Gallery, New York

 

 

Berry Campbell has so many interesting exhibitions that I have to ration my visits there.  However, this show was a standout.  Covering nearly four decades in the career of one of Canada's most illustrious painters, it was entitled, "William Perehudoff: Architect of Color" (closed May 24). Read More 

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PEREHUDOFF AT BERRY CAMPBELL: BREAKING THE BARRIER

William Perehudoff, AC-84-88, 1984. Acrylic on canvas, 50 7/8 x 93 inches. Courtesy Berry Campbell.

The 49th Parallel too often functions like an invisible sound barrier: few Canadian artists have been able to become well-known in the U.S. But the splendid Saskatchewan painter William Perehudoff has been posthumously making himself into one of those happy few—first, two years ago, and second, now. Read More 
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OLD & NEW

William Perehudoff (1918 - 2013), AC-85-015, 1985, acrylic on canvas, 42 x 82 inches. Courtesy Berry Campbell Gallery, New York.
Pomonians tend to have short artistic memories. Or so, at least, is the conclusion I've come to from seeing how august museums like the Met, the Frick and the Morgan seem to feel that to attract younger museum-goers, they must augment their invaluable holdings in older art with all the latest buzz (no matter how feeble). Modernists, on the other hand,  Read More 
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AND THE BEAT GOES ON

William Perehudoff (1918-2013) AC-87-023, 1987 Acrylic on canvas 55 x 114 inches Courtesy BERRY CAMPBELL, New York
Chelsea is still a place where younger artists & audience go to see and be seen, but it is also getting to be awfully chic. It never really was a low-end platform, even when it first took over the leadership of the downtown art scene from SoHo, but now this is more evident than ever,  Read More 
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A REVIEW FROM LONDON

Tim Scott. Woodwind I. 2011. Plywood, H. 90 cm. Image (c)Tim Scott 2011
David Evison, the sculptor, normally lives in Berlin. At the moment, he has a teaching gig in China. Recently, he paused in London to take in an important exhibition there. Below is his report:

"Color and Substance" was the title of an exhibition at Poussin Gallery, Bermondsey St.  Read More 
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SEPTEMBER SONG

This has been a social month for me, so I'll cover it in an appropriately chatty manner. Feature attractions are the shows by Frank Bowling, whom I haven’t dealt with at length since 2006, and Joyce Weinstein, whose work I’ve reviewed twice within the last two years. I’ll also mention four upcoming Canadian shows. Read More 
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