(An Appropriate Distance)

 

FROM THE MAYOR'S DOORSTEP

A totally lovely if strangely Spartan show is "Anne Truitt: Sound" at Matthew Marks (through December 19).   Resolutely minimal – as Truitt always was – this show consists of 14 works on paper, each about 20 inches square and created in 2003, the year before her death at the age of 83.  In addition, there are two smaller sculptures dating from 1999. All are from the estate, which the gallery represents, and this is the first time they have been shown. Although late work by even the best artists can be problematic, the "Sound" series in particular – the paper works – are authentically light and airy: they could have been created by the artist in her prime. Read More 

Anne Truitt (1921-2004) is no longer with us, but her art most assuredly lives on. She is best known for her remarkably pure but nonetheless sinewy tall narrow sculptures, like square columns. Now that she is gone, this is the second Truitt paintings show that Matthew Marks (which represents the estate) has put on. I liked the first okay, but this one is much, much better—in fact, like socko.  Read More 

Some shows I see because I’m told I should, others because I expect to like them. Here are two October exhibitions of the first type, of work by Keltie Ferris & Jackie Saccoccio; also one show of the second type, of work by Anne Truitt.  Read More 

Down in the bowels of West 21st Street, Larry Gagosian, who is to Chelsea what P. T. Barnum was to circuses, has mounted what he obviously hopes will be the same kind of historical blockbuster that his big late Picasso show was last season. “Claude Monet: Late Work,” curated by Paul Hayes Tucker,  Read More