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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."

 

Happy Happy

Happy Christmas, everyone!  Taking a short holiday break. Should be back online around New Year's.   See ya then!  PH

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LAM'S BEAK-LIKE GREYS AT PACE

Installation View of "Wilfredo Lam:  The Imagination at Work," 510 West 25th Street, November 9 - December 21, 2021, Photography  Courtesy of Pace Gallery.   At right:  "Les Oiseaux Voilés,"
 

 

I'm awfully late with this, but I do want to get a plug in for "Wilfredo Lam: The Imagination at Work," currently offered under the joint auspices of Pace and Gary Nader at Pace's headquarters, 510 West 25th Street in Chelsea (through December 21).  Even if the color schemes of many of the works on view tend heavily toward tans or grisaille, at their pointy-headed best they offer an eerily pleasant change of pace from the brightly and often garishly colored world outside.   Read More 

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RED-HOT, ICY BLUE: BLUEMNER AT MENCONI + SCHOELKOPF

Oscar Bluemner (1867-1938), Moonlight Fantasy, 1930. Signed with conjoined letters at lower left: BLŰMNER; inscribed, dated and signed on the backing with framing notes: Catalogue #15/ 28 ½ x 38 ½ /Gouache painting on panel/1930/ #234/Moon Light Fantasy/Oscar F. Bluemner /Casein varnish on paper mounted on board 30 ¾ x 22 ½ inches (78.1 x57.1 cm) (11138)

I really liked the display at The Art Show this year of Oscar Bluemner's work by Menconi + Schoelkopf. But, like last year's show by this same gallery of John Marin, it turns out that The Art Show booth was only a smaller prelude to a much larger show of Bluemner's work held after The Art Show closed and back at the gallery's headquarters on the Upper East Side. So I held my fire until I could see the larger gallery show, and found a delicious entertainment that I can highly recommend.

 

Titled "Bluemner and the Critics,"it' s on through December 17 and has a catalogue by Roberta Smith Favis – who is not to be confused with the New York Times critic of nearly the same name, but is instead a longtime professor at Stetson University in Florida, and first curator of the fabulous Bluemner collection given to Stetson by the artist's daughter Vera Kouba. Read More 

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