In an early video, made by Patsy Scala, Nancy Spero works in her New York studio in 1973. We see her laying out sections of her scroll Codex Artaud across the wooden floorboards. The camera slowly scans the images and texts scattered over the loosely unfurled hand-made paper sheets that curl at their edges.
After a few moments amongst the paintings in his recent exhibition at the Marian Goodman Gallery it becomes clear that Gabriel Orozco doesnt intend to take up a dialogue with the history and medium of painting; he is painting not as a painter, but rather employs the format of abstract painting as a possibility for depicting his geometrical thought.
In her puff piece on Marcel Dzama in the Style column of The New York Times Magazine, Deborah Solomon writes that Dzamas lugubrious fairy-tale sensibility exemplifies the latest drift in contemporary art.
Daniel Zeller’s recent exhibition at Pierogi is similar to his last one two years ago. The gallery is filled with a number of fairly large framed abstract works on paper that are so meticulously drawn they look as if they could be photographs of the earth taken from a satellite.
Luc Tuymans is one of the current darlings of the European art establishment, and has the resume to prove it. Hes been included in every major show from the Saatchi Gallerys Triumph of Painting to Undiscovered Country at the Hammer Museum in L.A.
To this writer there is hardly anything more moving in art; there are few artists whose work is more passionate and embracing of lifes dramatic emotions than that of Egon Schiele (1890 1918). He is one of the most impressive and highly influential geniuses, the kind who inspires us to live up to our own fullest creative potential.
Larry Poons is famous for having been famous young. The painter, who has just shown ambitious new work at Jacobson Howard in Manhattan and Sideshow in Brooklyn, had his first solo show in 1963 at age 26 at Richard Bellamys legendary Green Gallery. His signature geometric dot paintings were a highlight of MoMAs 1965 op art survey, The Responsive Eye.
Thats what its all about finallysymbolism with paint. Thats why painters make paintings. Humans can perceive content in form and meaning in the structured presentation of the worlds assembled colors. When we use our bodies and the medium of paint to create an image of our inner struggles, the body is inscribed in the image.
In her latest exhibition, Shirin Neshat continues her cinematic translation of Iranian writer Shahrnoush Parsipours Women Without Men. Her latest filmic installation lingers on a prostitute, named Zarin, in an Iranian brothel, a place saturated with color and languid characters that frame the protagonists psychological breakdown.
Plato famously banned poets and by extension all artists from his Republic because, among other things, they are at third remove from the truth and they lie. However, we live in an era (and perhaps all eras are alike in this way) in which our government lies to us using simple answers waged to defend current policies.
The relationship between painting and architecture through the years has been a fruitful one. In its adolescence, modern art embraced the mathematical regularity and geometric precision of suspension bridges and steel-frame skyscrapers for their formal and symbolic potential.
John Graham, born Ivan Gratianovich Dombrowski in Kiev, in 1887, stands as an avatar within the formative first half of the twentieth century in New Yorks burgeoning art world. His biography reads at turns like Dr. Zhivago, Concerning the Spiritual in Art, and The Confessions of Aleister Crowley.
This show gathers paintings, drawings, and prints by Alice Trumbull Mason, her daughter Emily Mason, and granddaughter Cecily Kahn, turning scarce space into lively, intimate space. Kahn and her mother are productive todayboth had solo shows in New York galleries in 2005and a good deal of their work here is very recent.
Mixed Feelings is a curious name for Jason Van Andens sculpture. His two robotic figures at VertexList are unequivocal: they laugh incessantly. Circuit boards displayed on the gallery walls show the circumscribed paths of their internal activity while small motion detectors mounted under their chins help them interact with their surroundings.
In 1951 Life magazine published a now well-known photograph of The Irascibles, 15 of the 18 painters who had signed a letter accusing the Met of rigging the jury for a national exhibition of American art. The guy on the far left of the picture (trying unsuccessfully to look as irascible as possible), one of the youngest artists in the group, is Richard Pousette-Dart.