
Report from the Front
Art criticism, sometimes with context, occasional politics. New shows: "events;" how to support the online edition: "works."
A TALE OF TWO BOROUGHS
May 25, 2017

Joan Miró, "Femmes au bord du lac à la surface irisée par le passage d’un cygne (Women at the Edge of the Lake Made Iridescent by the Passage of a Swan)," Palma de Mallorca, May 14, 1941. Gouache and oil wash on paper, 18 1/8 x 15 inches (46 x 38 cm). Private Collection. © 2017 Successió Miró / Artists Rights Society (ARS), New York / ADAGP, Paris.
I suffer from anti-snob snobbery. I fight it as some shows & venues have good art despite being chic. Brooklyn additionally irks me because our mayor, Bill de Blasio, boasts of being a Brooklynite and wouldn’t move into Gracie Mansion, the mayor’s elegant official residence in Manhattan, for donkey’s years. Here, however, I will report on five Brooklyn shows and two in Manhattan. What do they prove? We shall see. Read More
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FOUR IN BROOKLYN
May 24, 2014

Tom Keough. Blizzard. 2013. Oil on canvas, 20 x 20 inches. Photo Courtesy Tabla Rasa.
For some time now, I’ve been citing the title of “Only the Dead Know Brooklyn,” a famous short story. It’s by the first Thomas Wolfe (1900-1938), a writer from Asheville, North Carolina who came to the Big Apple and in 1929 won fame for “Look Homeward, Angel,” a coming-of-age novel with a less than flattering portrait of his home town. Read More
10 Reviews & 1 Advisory
March 26, 2013

Thornton Willis. Love at First Sight. 2012. Oil on canvas, 83 x 68 inches. Courtesy Elizabeth Harris Gallery
In the following post, I will offer reviews of ten (count them, 10) gallery exhibitions, around about Manhattan & in Williamsburg. I also offer a briefer advisory about “Painted on 21st Street: Helen Frankenthaler from 1950 to 1959,” at Gagosian on 21st Street (through April 13). I don’t yet know what I’ll say about Read More
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BREAKING NEWS! WE INTERRUPT THIS PROGRAM! PAGE ONE HEADLINE!
April 20, 2010
The Museum of Modern Art has finally found a show that is both drawing mobs and landing it on Page One of the New York Times. Who among our edgy younger curators could ask for anything more? This show demands nothing but prurient curiosity from viewers, plus the willingness to pretend that this is a serious, highbrow presentation instead of a peep show for people who like to say they went to a museum but don’t really like painting or sculpture. Read More