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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."

 

RARELY-SEEN BOXER AT BERRY CAMPBELL

Stanley Boxer (1926-2000), Rainnights, 1973. Oil on linen, 74 x 68 in. (188 x 172.7 cm).   Courtesy Berry Campbell.

 

Though I've reviewed the paintings of Stanley Boxer (1926 – 2000) many times, mostly it has been his work from the '80s and '90s that I discussed, the pictures covered with glittering, glistering accretions of matière. Only occasionally have I glanced at let alone reviewed his work from the early 1970s, but these are the paintings now featured in "Stanley Boxer: The Ribbon Paintings (1971- 1976)" at Berry Campbell in Chelsea (through December 23).  And they form a wonderful chapter in pure painting.

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ANNUALS & PERENNIALS: THE ART SHOW 2021

Arthur B. Carles (1882-1952), Flowers in a Yellow Vase, 1922.  Oil on canvas, 35 1/2 x 31 1/2 inches (90.2 x 80 cm), Courtesy of Avery Galleries, Bryn Mawr, Pennsylvania
 

 

In 2021 I skipped "The Armory Show."  Its ratio of annuals to perennials in recent years has been roughly 200:10 at best   -- and I consider a work "perennial" if to me it has staying power, whether it is new or old. At "The Art Show," staged by the Art Dealers Association of America at the Park Avenue Armory (and held this year for the first time in November), the ratio is more like 70:10. This makes it for me much more worthwhile. I'm afraid I'm picky, though, – so when I say I found ten booths out of seventy worthy of praise, and several  more at least worthy of mention, that signifies enthusiasm for me!

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AT YARES ART: NOLAND AT THE PEAK

Kenneth Noland (1924-2010), Fete, 1959. Magna on canvas, 69 x 68.5 inches (175.3 x 174 cm).  Courtesy of Yares Art.

 

 

At Yares Art on Fifth Avenue is a stupendous show.  It is entitled "Kenneth Noland: Context is the Key -- Paintings: 1958-1970" (through January 22, 2022).  I don't know quite what "context" Yares refers to.  Certainly the socioeconomic and political troubles of that far-off era, while they may seem trifling in retrospect, were no less dire at the time than our current evils seem today. Maybe the gallery is thinking in esthetic terms of the '60s as a period when the sun of modernism wasn't yet as nearly obscured by the clouds of anti-modernism, the way it is today. Whatever. Anyway, it's a helluva show.


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