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Report from the Front

Art criticism, sometimes with context, occasional politics. New shows: "events;" how to support the online edition: "works."


10 Reviews & 1 Advisory

Thornton Willis. Love at First Sight. 2012. Oil on canvas, 83 x 68 inches. Courtesy Elizabeth Harris Gallery
In the following post, I will offer reviews of ten (count them, 10) gallery exhibitions, around about Manhattan & in Williamsburg. I also offer a briefer advisory about “Painted on 21st Street: Helen Frankenthaler from 1950 to 1959,” at Gagosian on 21st Street (through April 13). I don’t yet know what I’ll say about  Read More 
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Bronze statue of Eros sleeping. Greek, Hellenistic period, 3rd-2nd century BC. Said to be from Rhodes. L. 33 -5/8 in . (85.4 cm). The Metropolitan Museum of Art, Rogers Fund, 1943 (43.11.4). Image (c ) The Metropolitan Museum of Art, New York.
The other press preview I got on February 4, for a new installation at the Metropolitan Museum of Art taken (almost) entirely from its permanent collection, called into use that rarely seen but glorious bird: connoisseurship. The show was (and is) “Sleeping Eros” (through June 23). The curator helping us appreciate it  Read More 
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Ezra Stoller. TWA Terminal at Idlewild (now JFK) Airport, Eero Saarinen, New York, NY 1962. Gelatin silver print. (c) Ezra Stoller, Courtesy Yossi Milo Gallery, New York
In early February, I trotted down to Chelsea, to see three gallery shows that I’d heard and/or read about. Working my way uptown, I started first with the new HQ of Hauser & Wirth, on West 18th Street. The gallery turned out to be a huge, cavernous space of 24,000 square feet,  Read More 
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Simon Denis (Flemish, Antwerp 1755-1813 Naples). View on the Quirinal Hill, Rome. 1800. Oil on paper, laid down on canvas, 11 5/8 x 16 1/8 (29.5 x 41 cm). The Metropolitan Museum of Art, The Whitney Collection, Promised Gift of Wheelock Whitney III, and Purchase, Gift of Mr. and Mrs. Charles S. McVeigh, by exchange, 2003.
With laudable civic ambition, The Metropolitan Museum of Art evidently feels an insatiable need to supply its regular and potential visitors with an unending stream of “new” exhibitions. Even the Met doesn’t have the money to make all these exhibitions genuinely new, however, in the sense that it can keep staging subject-based exhibitions which rely upon borrowed work as well as work already owned to make whatever point the show is supposed to make. Sometimes, this leads to a show that makes a somewhat different point  Read More 
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