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Benjamin Clifford

Benjamin Clifford is an art historian, editor, and critic based in New York City. He received his PhD from New York University’s Institute of Fine Arts.

Minimalism and Beyond

Minimalism and Beyond takes its title seriously: an emphasis on ‘beyond’ informs Mnuchin Gallery’s liberal selection of works, and lets surprising, productive connections develop. That said, the conventional narrative of Minimalism’s origins in the early 1960s and its evolution into Postminimalism later in the decade is well represented.

Josef Albers in Mexico

The Guggenheim’s concisely titled Josef Albers in Mexico explores Albers’s experience of the eponymous Latin American nation, focusing on his frequent visits to pre-Columbian monuments and archeological sites.

RICHARD SERRA:
Sculpture and Drawings

The works that make up Serra’s current show reveal an approachability that’s surprising for a figure commonly associated with aggressive, even overwhelming, effects.

Raha Raissnia: Galvanization

Raha Raissnia’s atmospheric new paintings, drawings, and projections share much with the work she exhibited at The Drawing Center last winter.

The Worlds of Joaquín Torres-García

Acquavella’s The Worlds of Joaquín Torres-García is a wide-ranging and substantial look at the Uruguayan master’s career, drawing on material executed as early as the artist’s youth in the late nineteenth century and as late as 1949, the year of his death.

Nuvolo and Post-War Materiality 1950-1965

In his most characteristic works, Nuvolo stitched fragments of fabric together with a sewing machine to form an asymmetrical but carefully balanced grid.

Gabriel Orozco

The varying texture of local stone, the colors of a specific landscape, the ephemera of regional commercial culture—Orozco’s work finds its enduring vitality in the slippages and incongruences that emerge from these factors.

PAT STEIR: Kairos

Kairos, the title of Pat Steir’s most recent exhibition at Lévy Gorvy, is taken from an Ancient Greek word that refers to the right or opportune moment for action.

Radicalism in the Wilderness: Japanese Artists in the Global 1960s

Radicalism thinks through this dialectic within Japan itself and on an international scale. The show features boundary-pushing artists who worked in areas remote from Tokyo—the seat of the art establishment after World War II—while proposing the terms “connection” and “resonance” to describe, respectively, concrete links and conceptual parallels with figures in Europe and the United States.

DAVID SALLE:
Paintings 1985—1995

This presentation of thirteen works by David Salle focuses on the ten years following his establishment in the art world—a period that saw the painter’s compositions grow denser and more complex in their staging.

Gutai

The selection of work by members of the Japanese art collective Gutai at Hauser & Wirth 69th Street aims to highlight the importance of painting to the group’s avant-garde practice. Active from 1954 to 1972, Gutai’s interest in this medium was idiosyncratic, and many of the works displayed here were not intended as self-sufficient pieces. Instead, they were intimately linked with public performances or other bodily actions.

Epic Abstraction: Pollock to Herrera

The title of the Met’s new ongoing installation, Epic Abstraction: Pollock to Herrera, suggests a revisionist take on the history of abstraction since World War II. However, the show is drawn almost entirely from the permanent collection, which is simply not broad enough in this area to fulfill such an ambitious promise.

Richard Serra

Both shows largely eschew the raw and overbearing aggression that Serra is best known for. Instead, they are finely judged installations that manipulate the relationship between a sculptural object, a display space, and a mobile viewer with great sophistication. The overall effect is thoughtful and, at times, even seductive.

Deborah Turbeville: Collages

The collages by Deborah Turbeville currently on view at Deborah Bell draw mainly from the photographer’s work in fashion. Turbeville’s images are shrouded in a gothic atmosphere of deep shadows and Romantic decay, and her models typically convey alienation or psychological dissociation—not precisely the glamour we expect of luxury advertising.

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The Brooklyn Rail

DEC 19-JAN 20

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