Theres a tumbledown, pieced-together ambience to Jim Lees current exhibition at Freight + Volume. If you havent been to this gallery, its an excellent, small, cramped room.
Tony Cragg is a British sculptor who has lived and worked in Wuppertal, Germany for thirty years. His honors include several major museum exhibitions, mostly in Europe, and representation of Great Britain during the 43rd Biennale di Venezia and the Turner Prize, both in 1988.
What stays with you, first and last, from Nicolas Carones carved stone heads is their blunt, incandescent beauty.
The night started out with Flux Radio + TV. Five small televisions and one radio were wheeled out on a cart and turned on; images and sounds of the day’s news blared for ten minutes. Then came Variations on a Theme by Saint-Saëns for cello and keyboard.
At Chashamas 44th Street gallery, the collaborative team Trouble and the B-Keepers (Sam Hillmer and Laura Paris) invited over fifty performance groups, noise musicians and DJs to perform throughout the month of May.
Bedeviled by its roots in conceptualism, installation art is seen as inherently more political than painting. In the 90s, any really tedious piece of Po-Mo dogmawhats that, did I hear the words Whitney Biennial?was nine times out of ten three-dimensional.
In order to pass muster with the critical establishment, art today needs to be a critique. It must reveal an awareness of cultural perceptions dating back as far as the 60s such as: America has a racist history, or Male sexuality tends to objectify females, or High art is about cultural snobbery.
When I was in college in the 1990s, there was an emerging movement called Gay Art; it was akin to Feminist Art, but focused on radical Queer Theory and its impact on male gay identity.
The comprehensive survey exhibition of Joan Mitchell’s works on paper at Cheim and Read spans from the late 1950s to the year before she succumbed to cancer in 1992.
Not only does the emperor have no clothes, hes bloated, vulgar, ignorant, complacent, and wallowing in historically unprecedented mountains of cash, with bile-colored spittle flecking the corners of his mouth.
Even a non-reader knows that books stack up quickly and ravenously consume space. Once theyve taken the bookcase proper, they spread onto the secondary bookshelves: the desk, the dresser, the kitchen table, the back of the toilet, the car seat
Shana Moulton doesnt seem to be feeling well. Her wrists and neck ache from too much time on the computer. Her migraines are so painful she vomits on the floor.
Desire for Transport, the title of one of Katherine Bradfords recent, breakthrough paintings, evokes the dilemma of painting and, to some degree, all art in a nutshell.
In two concurrent exhibitions at Dam, Stuhltrager Gallery, China Blue and Carol Salmanson push beyond the limits set by formalism, articulating a notion of space through sound and luminescence.
The quandary with Gregory Amenoffs paintings is that he has never stepped back and interrogated that initial flush of deep feeling he had about the American visionary tradition, particularly Arthur Dove, at its most optimistic heights.
Theres something immediately familiar about Kristen Schieles cycle of paintings at New General Catalog in Greenpoint: fragmented, architectural interiors scrubbed into medium-sized canvases with stylish, tongue-in-cheek recklessness, and enveloped by kaleidoscopic color schemes resembling a Black Forest fairy tale cloaked in moonlight.
There were only three works on display in Reuben Kadish’s Holocaust Sculpture at the Yeshiva University Museum, but those three spoke volumes about the visceral force of an artistic maverick who unaccountably remains in the margins of post-WWII American art history.
Dreaming of a Speech Without Words: The Paintings and Early Objects of H.C. Westerman
By Thomas Micchelli
Will Barnet: Recent Work
H.C. Westerman (1922-1981), one of the lone wolves of American art, served in both World War II and the Korean War and emerged a scathing critic of Americas ascendant militarism and mindless materialism.
When Carroll Dunham was in his cartoony, biomorphic period (1982-1993), critics said that he belonged to the same family as Bill Jensen and Thomas Nozkowski.
In Abby Leighs painting, a naturalists sense of empiricism coexists with a mystics sense of wonder. In her previous show at Betty Cuningham, entitled Systems, the naturalist in Leigh was dominant.
Nicholas Krushenick (1929-1999) has rightfully been called the father of pop abstraction, which suggests that a lot of what is currently going on owes something to him. And while this is certainly the case, this well-meaning sobriquet doesnt tell half the story.
Eric Holzman has a fondness for aged surfaces, which he creates as substrate for his modestly scaled drawings of landscapes, portraits and still-lifes. Drawings 1990-2007, a recent exhibitionat the New York Studio School, surveys the variety of touch he achieves with watercolor, egg tempera, charcoal and graphite.