The work in Matt Kleberg’s two recent exhibitions—brightly-colored, striped paintings that describe interior or architectural spaces—slowly but surely takes over the viewer’s attention.
Moyra Davey’s career spans decades and is characterized by a kind of fascination with intimacy.
A serious conversation on the topic of play appears to be at work in the two-person exhibition, Anna Mikhailovskaia and John Schacht, currently on view at the Knockdown Center.
The first time I saw a grouping of Sadie Benning’s more recent paintings was at the Greater New York show at PS1 in 2015 – 16.
Iceland has been punching well above its weight in the cultural arena for the last twenty years. Tibor de Nagy’s pairing of two artists from Iceland shows the country’s impact on their sensibilities.
Joe Zucker has avoided the limitations of working in a cohesive style, instead embracing logic to produce diverse bodies of work that seek to unite subject, technique, material, and support.
To inaugurate its new Chelsea space, Lisson, one of London’s most significant and established galleries, presents works created over the past two years by the painter Carmen Herrera.
Marcia Hafif’s mostly two-color paintings now on view in Chelsea were created in Rome, and are being shown for the first time in the United States after thirty-seven years in storage.
After twenty years of meditating on social psyches, Shimon Attie has brought the Israel/Palestine conflict to Jack Shainman Gallery. Celebrated for his experimental approach, which blurs the line between installation and photography, Attie has spent his career moving from one city to the next to explore the trauma and history of the marginalized and to reflect on social memory and the construction of identity.
When it comes to the poetry of intimate spaces, Gaston Bachelard remains unrivalled in the probity of his insights and the wonderful lyricism of his analyses. In his oft-cited Poetics of Space, the French philosopher examines the housethat most intimate of human spacesas a potent metaphor for our humanness, sheltering not just our bodies but also our deepest dreams, memories, thoughts, and imaginings.
Gods and Mortals at Olympus marks the welcome return, after a four-year hiatus, of the Onassis Cultural Center to Midtown’s museum scene. Happily, the exhibition continues the Onassis tradition of attractive and engaging historical shows that speak to the cultural and political present.
The Tate Modern’s retrospective of Mona Hatoum presents the melancholy autobiography of an exile, and it is not a pretty picture. Filled with sharp edges, electrified fences, and cages, it is overall a portrait of discomfort, and of the ever-present disappointment of a life circumscribed by the perceived denial of a real origin.
Half a lifetime ago, around 1980, I started doing art criticism under the spell of Joseph Masheck, who was then the editor of Artforum.
David Hammons is still an anomaly with a gift for turning social absurdities into witticism.
Critique seeks the truth content of a work of art; commentary, its material content. The relation between the two is determined by that basic law of literature according to which the more significant the work, the more inconspicuously and intimately its truth content is bound up with its material content.
In 2016 we’re trying to make sense of our monuments. Broken monuments, unfaithful monuments.
Carol Szymanski, a talented and established sculptor and conceptual artist, who has worked both in New York and London, put up her fourth solo show at Elga Wimmer Gallery.
Be forewarned: if you have ever lived in a house in the suburbsor have parents or grandparents who dreamed of such thingsRodney McMillian’s Untitled (2006) might make you cry.
In the spring of 1830, President Andrew Jackson signed the Indian Removal Act into law, erecting a boundarythe Mississippi Riverbetween Americans in the East, and those unwelcome inhabitants, Native Americans, forced to the West.
One of today’s most influential painters is having his first museum-quality, posthumous show at Hauser & Wirth: Philip Guston: Painter, 1957 1967.
The title of this brief reflection is cobbled together from Philip Guston’s 1978 letter to Ross Feld, a younger poet and critic who had written appreciatively of Guston’s signal 1970 show, which marked his leap (or return) to figuration after years building a solid legacy of moodily lyrical abstractions.
Being in a room full of Philip Guston’s paintings is like time travelingback to both the artist’s own era in which the work was made, and to my first attempts to make abstract work.
the breathing of and listening / to paint / the openness, sensuousness, messinessthe restlessness
In an era of perturbation, and neomemory, the experience of space precedes timeeven Earthand man is conceived as a monumental function of form.
Primordial tenants stand proudly in front of / Their Apartment Houses [in] Paris after the war / Some on terraces or in frames of doors.