Progress is an excellent exhibition of work from the Whitney Museums permanent collection. Hot on the heels of Buckminster Fuller: Starting with the Universe, Progress only mildly concerns itself with the technological advancements considered synonymous with the term and integral to Fullers utopian designs.
For over two decades, Marc Van Cauwenbergh has explored the language of color field abstraction. He creates compositions that contrast monochromatic fields with isolated, predominantly vertical shapes by brushing layers of translucent oil paint directly onto raw linen.
This month over 138 international publishers, booksellers, and antiquarian dealers will stock their bookshelves at Printed Matters annual fair for contemporary art books, art catalogs, artists books, art periodicals, and zines. In addition, the Art Library Society of New York is hosting a four-day conference to examine contemporary directions in artists books.
Swoona street artist whose moniker shields her from potential prosecution on vandalism chargessailed her ragtag Burning Man on the Hudson-like flotilla of seven sculptures nee boats to landfall in front of a cheering crowd of hipsters on the docks of Deitch Projects in Long Island City.
The Miguel Abreu Gallery is low lit for Free Way, Raha Raissnias composite 35mm slide projection and 16mm film. Her big black and white paintings and small drawings dont suffer from the dimming, a testimony to the toughness of all Raissnias workyou can see it in the dark.
In an interview with Gene Swenson, Andy Warhol articulated his intellectual stance on originality and mechanization, saying: I think somebody should be able to do all my paintings for me I think it would be so great if more people took up silk screens so that no one would know whether my picture was mine or somebody elses.
Arthur Cohen is a persistently dedicated painter, the proverbial painters painter. His first important works were of Italian Baroque cathedrals in Rome. Although painted during the early seventies during the height of New Realism and eventually selected for the Whitney Biennial in 1973, Cohens paintings were never quite fashionable.
So its in the air. Three shows opening the new season in New York all bear the word shit in their titles: Andres Serranos Shit at Yvon Lambert (reviewed here by Robert C. Morgan), Alejandro Almanza Peredas The Fan and The Shit (reviewed by Shane McAdams), and Shit: a group exhibition at Features brand new, barely finished space on the Bowery.
Shit may be the closest we come to death in life, or for that matter, the meeting ground between Eros and Thanatos. It is most often the detritus we choose to ignore, the packaging we rip from the simulacrum and tear apart.
When I first saw Alejandro Almanza Peredas precariously arranged constructions a few years ago, I remember thinking that he must have been the kind of kid who tortured his mother by rollerskating around the pool with scissors in his hands, drinking Coca-Cola and eating pop rocks.
Theres something buried in these paintings, hovering at the cusp of recognition. Its a fleeting something or other that at times appears as parody, and at others as a sincere meditation on the medium of a medium (or market gone mad?), and it hits home in both contexts.
Not to mix mythic metaphors, but Oedipus was also a narcissist.
A collection of mostly Social Realist paintings about Mao and the Chinese Revolution, spanning the 1950s through the 1970s, is quite honestly nothing revolutionary to look at. But, like the Shroud of Turin, the history behind the image is what pulls together these never-before-exhibited works.
The clearest preoccupation one takes away from the paintings by Robert Bordo at Alexander and Bonin is obliteration. He paints over an earlier layer of a painting to the point that it is visible only as a line or a few chinks of color.
New Yorks fall art season is in full swing and you would never know that our country is on the precipice of an historic presidential election. Kent Gallerys current exhibition, Entre Chien et Loup (between dog and wolf), gives itself fully to this crepuscular moment in American politics.
Charles Seligers place in history has yet to be fully secured. Born in 1926, he was the youngest and most precocious artist in the group that gathered around Peggy Guggenheim in New York in the 1940s (Piet Mondrian and Jackson Pollock were also part of this circle).
For those who still need a guide, poets can be divided into two groups, those who have at one juncture or another used collage (or a related methodology) in their writing, and those who havent. The former are interested in what has been called (rather negatively) the experimental, while the latter regard themselves as traditionalists.
Tibor de Nagy Gallery September 4October 4, 2008
The discovery of Le Douanier Rousseau by Picasso in Paris, and the naïve fisherman-artist Alfred Wallis by the British modernist Ben Nicholson in Cornwall, provided inspiration for new approaches to making art. What opened their eyes was a freedom of material, expression, and mostly of composition that worked purely within the terms of the frame.