One major topic of gossip these past few months in the little sub-community of the art world that I inhabit has been the 98-minute documentary entitled "The Price of Everything." The main reason we are interested is that for all practical purposes, its hero is our own Larry Poons, who has thus emerged at the unlikely age of 81 as a movie star. But the film has other attractions as well.
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."
What could be more appropriate for the Christmas season than an image of the Virgin and Child? And here is The Frick Collection, giving us not one but two fine versions of that subject, in "The Charterhouse of Bruges: Jan Van Eyck, Petrus Christus and Jan Vos" (though January 13).
On September 28, Roberta Smith in The New York Times ran a long article about seven abstract painters having exhibitions in Manhattan. Along with Larry Poons, Frank Bowling, and Ed Clark – all of whom I too reviewed on September 28 -- she celebrated two further shows in Chelsea “Mary Weatherford: I’ve Seen Seven Gray Whales Go By” at Gagosian (closed October 15) and “Elizabeth Neel: Tangled on a Serpent Chair” at Mary Boone (closed October 27). On October 5, I saw these two shows, as well as "Lines Thicken: Stuart Davis in Black and White" at Paul Kasmin (through December 22). Read More
For some reason, the top color-field painters of the 1960s (and even a little bit later) seem to be “in” this season in the Manhattan art world, or at least accepted as members in good standing of the ‘60s crowd (as opposed to being ostracized because Clement Greenberg admired them, and although few if indeed any of the younger artists most directly descended from them are deriving the slightest benefit from this new climate).
I say this not only because of the many solo shows I’ve so far reviewed this fall, nor even because of the exquisite mini-show of “Jules Olitski: 60’s Sprays” currently at Leslie Feely but most of all because of three group shows that include some of the artists I most admire and have been or will be mounted in unfamiliar big-league venues.
In this category I would first place “The Joy of Color” at Mnuchin on East 78th Street (closing December 8), second, “Epic Abstraction: Pollock to Herrera,” at The Metropolitan Museum of Art (opening December 17), and “Spilling Over: Painting Color in the 1960s,” at the Whitney Museum of American Art (due in March). Read More