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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."

 

LARRY ZOX AT BERRY CAMPBELL: COURAGEOUS

Larry Zox (1937-2006), Untitled, c. 1974.  Acrylic on canvas, 81 1/2 x 92 1/2 inches (ZOX-00139).  Courtesy Berry Campbell.

 

When I last reviewed what seems to have been a more wide-ranging show by Larry Zox, staged by Berry Campbell in May 2017, I concluded that in the 60s, he was more of a minimalist, but by the later 70s, had become more of a modernist – courageously swimming as it were against the tide. This latest – and highly enjoyable -- show catches him in a transitional phase.  It is "Larry Zox: Open Series (1972-1975)", and is again at Berry Campbell, but if you want to see it, you need to hustle, as it is only up until December 20 – this coming Friday. Read More 

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ELIE NADELMAN AT KASMIN: REFRESHINGLY FORMAL

"Elie Nadelman: Significant Form," at Paul Kasmin, November 7-December 21, 2019. Installation shot.  © The Estate of Elie Nadelman. Photography by Diego Flores.

 

On those occasions when I've seen sculpture by Elie Nadelman in the past, I've found its pointy-toed ladies and pin-headed men a little too cute for me.  However, I have great respect for the taste of David Evison, the sculptor, and on a recent whirlwind visit to New York, he made a point of checking out "Elie Nadelman: Significant Form" at Paul Kasmin in Chelsea (through December 21). I therefore high-tailed it downtown to see what there was to see. Read More 

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POONS AT YARES: COLORFUL & PLAYFUL

Larry Poons (b. 1937), One Inch Less Wild, 2001.  Acrylic and mixed media on canvas, 78.5 x 111 inches (199.4 x 281.9 cm). (Inv# 3940). Courtesy Yares Art.

 

 

At Yares Art, we have "Larry Poons: First Thought, Best Thought – The Particle Paintings (1996-2002)" (through February 15, 2020).  This is not the first time I have reviewed Poons's work from this period, but I liked it a little better than I did the last time I saw it – in a show at Salander O'Reilly in February 2001.  It's cheerful, colorful and – to borrow a word from Ken Johnson, the critic from the New York Times who liked that show a lot—it's playful.  Read More 

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