What will become of those painters assembled by the late, great Kenworth Moffett under the rubric “New New Painters”? One answer may be seen at Sideshow in Williamsburg, with "Marjorie Minkin & Bruce Piermarini, Pour: Rush Rest Release" (through April 2). Short form: both painters are former members of Moffett's group, and New Englanders who rely heavily on pouring, but one uses it to further explore the possibilities most praised by Moffett, while the other is engaged in what the French call reculer pour mieux sauter, which (loosely translated) means “falling back in order to get a running start and make a bigger jump ahead.” Read More
Report from the Front
Art criticism, sometimes with context, occasional politics. New shows: "events;" how to support the online edition: "works."
March 18, 2017
Although I didn’t review every show that Howard Scott staged in his eponymous Chelsea gallery, I did stop by to look at the work he displayed more often. Scott’s taste was usually purer and more minimal than mine, but the gallery as a whole was a class act. This was particularly true with its final presentation—a show called: “Thami,” featuring the powerfully colorful geometric abstractions of a Ghanaian artist named Atta Kwami (closed March 18). Read More
March 9, 2017
Sorry, folks, I am still behind schedule, so two of the four shows I took in during a recent visit to Chelsea have already gone down, and the other two will go down this coming weekend. However, as a group they offer insights into the range of what’s offered in Chelsea – which (to borrow a title from an old movie about porn & politics) encompasses everything from the good (at Paul Kasmin & The Painting Center) to the bad (at Gagosian) to the beautiful (at Berry Campbell). Read More