instagram pinterest linkedin facebook twitter goodreads facebook circle twitter circle linkedin circle instagram circle goodreads circle pinterest circle

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."

 

“COLORS” AT FREEDMAN ART

Helen Frankenthaler (1928-2011), "Untitled," 1959. Oil and collage on paper, 14 x 11 inches. Signed lower center, green crayon: 3/59 \ Frankenthaler (Inv# FA849). Courtesy Freedman Art
A singularly inventive group show at Freedman Art is “Colors” (extended through August 17). The idea for it was born when the gallery’s director, Ann Freedman, visited the Fralin Museum of Art at the University of Virginia in Charlottesville, VA last year, to see its exhibition devoted to Sam Kootz, the pioneering art dealer. While Freedman was there, her attention was drawn to a poem entitled “Colors” by a12-year-old schoolgirl named Zoe Kusyk that had been inspired by a 1977 Larry Poons painting at the Fralin.  Read More 
1 Comments
Post a comment

MAX HOLLEIN & THOMAS COLE AT THE MET: COMMENT & REALITY

Thomas Cole (American [born England], Lancashire 1801–1848 Catskill, New York). The Course of the Empire: The Consummation of Empire, 1835–36. Oil on canvas, 51 1/4 x 76 in. (130.2 x 193 cm). New-York Historical Society, Gift of The New-York Gallery of the Fine Arts (1858.3). Digital image created by Oppenheimer Editions.
There’s no doubt that the New York Times devotes generous attention to the Metropolitan Museum of Art. But this can lead to some very bum steers. Not only was I dismayed by the paper’s recent article on Max Hollein, the museum’s new director, but its review of the museum’s highly sophisticated and thoroughly delightful exhibition of “Thomas Cole’s Journey: Atlantic Crossings” actually discouraged me from attending it until far too late in its run. Hence I can only belatedly encourage my readers to beat feet to this show before it closes on May 13 (or see it at the National Gallery in London, where it will appear from June 11 to October 7).  Read More 
Be the first to comment

EARLY & LATE AVERY AT YARES ART

Milton Avery (1885-1965), "Untitled (Wild Purple Mountain) / Untitled (Valley Floor), c. 1930s. Double-sided gouache on black paper, 18 x 24 inches (45.7 x 61cm). (Inv# 3104). Courtesy Yares Art.
For I don’t know how long, I have been aware of the big, spacious landscapes and seascapes of the later 1950s and early 1960s by Milton Avery (1885-1965), but it seems like forever. And I have to confess it has taken me a very long time to warm up to them. However, I have exceedingly warm feelings toward the current show at Yares Art, which is entitled "Milton Avery: Early Works on Paper + Late Paintings" (extended through May 5). Read More 
Be the first to comment

“ZURBURÁN’S JACOB AND HIS TWELVE SONS” AT THE FRICK COLLECTION

Francisco de Zurbarán (Spanish, 1598–1664), "Judah," ca. 1640–45. Oil on canvas , 79 1/4 x 40 3/4 inches (201.3 x 103.5 cm). © The Auckland Project/Zurbarán Trust. Photo credit: Robert LaPrelle.
As my first entry in the museum category in some time, I can recommend “Zurburán’s Jacob and His Twelve Sons” at The Frick Collection (through April 22). This stately group of thirteen paintings, each measuring nearly 7 feet high and about 3½ feet wide, graces the East Gallery of the Frick, on the ground floor, and offers a telling contribution to the lore surrounding Francisco de Zurburán (1568-1664). Read More 
Be the first to comment

DIONYSIAN DZUBAS AT LORETTA HOWARD

FRIEDEL DZUBAS, "Northdrift", 1959. Oil on canvas, 19 x 38 inches. 'Friedel Dzubas' (lower left); signed, titled and inscribed 'DZUBAS /"NORTHDRIFT." Courtesy of Loretta Howard Gallery.
The current show at Loretta Howard is “Friedel Dzubas: Gestural Abstraction” (through April 21). It reminds me of an important article written by Clement Greenberg in 1947. Called “The Present Prospects of American Painting and Sculpture,” this article appeared in the British magazine Horizon. Read More 
Be the first to comment

“UNLOCKING THE GRID” AT BOOKSTEIN PROJECTS

Adolph Gottlieb, Nostalgia for Atlantis, 1944. Oil and tempera on canvas, 20 x 25 inches. Image courtesy of Bookstein Projects, New York.
Lori Bookstein started out in the gallery business in 1997, with an Upper East Side space on 78th Street, which she opened with the still-memorable show of “Pat Lipsky’s Black Paintings.” Since then, the gallery has moved to West 57th Street and then again to Chelsea. There it shut up shop in the fall of 2016. But it seems you can’t keep a good woman down, so now Bookstein has returned to her roots, and opened up Bookstein Projects at 60 East 66th Street. At present her exhibition is a little jewel of a group show entitled “Unlocking the Grid” (through April 14). Read More 
Be the first to comment

THREE TALL WOMEN (ESPECIALLY FRANCINE TINT)

Francine Tint, Wonky, 2012. Acrylic on canvas, 46 x 210 inches.
As March is National Women’s History Month, I cite the fine examples of 1) Louise P. Sloane, whose medium-sized & colorful, rigidly geometric abstract paintings grace the Two E Lounge in the stately Pierre Hotel (through May 31); 2) Arleen Joseph, whose modestly-scaled & colorful, gestural abstract paintings are ensconced in the busy Weill-Cornell Medical Associates clinic on West 72nd Street (through April 24), and 3) most of all, Francine Tint, who has gambled on Cavalier, a somewhat atypical gallery relatively new to the Big Apple, to present her classic yet audacious & brilliantly-hued abstract paintings in “Explorations by Francine Tint,” inhabiting Cavalier’s 4th Floor space at 3 West 57th Street (through March 24). Already, “Explorations” has garnered three enthusiastic reviews – this one is merely the fourth. Read More 
2 Comments
Post a comment

“THE ART SHOW” & THREE GALLERY SHOWS

Peter Plagens, A Literary Sensibility, 2017. Mixed media on canvas, 72 x 66 inches. Courtesy Nancy Hoffman Gallery, New York.
Early March is a time of madness in Manhattan, with art fairs proliferating like rabbits. This year, the granddaddy of them all, “The Art Show,” as mounted in the Park Avenue Armory by the Art Dealers’ Association of America, staged its event the week before everybody else. I went, and will report on it. However, I also saw three Chelsea gallery shows closing this weekend (on March 10) – at Berry Campbell, on John Opper; at Luhring Augustine, on late medieval/early Renaissance paintings and sculpture; and at Nancy Hoffman, on Peter Plagens. Read More 
Be the first to comment

ONCE MORE, THE GREATEST SHOW ON EARTH

Once again, Richard Timperio and his seemingly endless corps of talented associates have brought to birth the annual monumental group show at Sideshow in Williamsburg (through March 24). This year, it’s called “Sideshow Nation VI: The Greatest Show on Earth!” and for those of us who treasure the fine art of painting, it is all of that—not least because it enshrines this art in a becoming context of timeliness and humor. Read More 
7 Comments
Post a comment

FUN & GAMES IN THE GALLERIES

Jack Bush (1909-1977), Pink Blossom, 1964. Oil on canvas, 72 x 70 inches (182.9 x 177.8 cm), Inv. #3238.
Having been in Oregon at the end of January, I’m behind in my limited reporting on the galleries, but I did do a little pulse-taking. Two Chelsea shows that inspired me to prose were “Ray Parker: The Nines” at Washburn (through March 3) and “Gordon Parks: I Am You – Part 1” at the 24th Street gallery space of Jack Shainman (closed February 10, but with “Part 2” scheduled for February 15 through March 24). A third show uptown that really turned me on was “Fields of Color” at Yares Art (through February 17).  Read More 
Be the first to comment