Barbara A. MacAdam
BARBARA MACADAM is Editor at Large at ARTnews.
On the occasion of David Row’s recent show, Zen Road Signs, at Locks Gallery in Philadelphia, Rail contributor Barbara MacAdam met with the artist in his longtime SoHo loft filled with examples of his art from various periods.
To begin with, as a critic, editor, and simple enthusiast, I find criticism to be an often delightful form of self-indulgenceone that allows me to set forth a problem for myself and then figure out how to solve it.
Judith Murray’s Tempest, at Sundaram Tagore’s New York gallery, features a whirlwind of mosaic-like compositions.
A fascinating glimpse into the origins of Alexander Calders thinking and evolution, this abbreviated retrospective is a rare opportunity to examine the artists early experimental and tentative production. The show follows Calders singular career, illuminating the artist's later, resolved and fully realized work, deploying some 70 objects from the mid-1920s through the 1950s.
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It’s very difficult to write about people you know well. The moment you start, you immediately suspect your own words and perceptions—you haven’t said enough? Made your point clearly? Or is it too simplistic? Obviously nobody perfectly fits a description.
The Berlin-based, West German born-and-raised artist Gregor Hildebrandt was in New York for the opening of his show at Perrotin Gallery on the Lower East Side. It’s a disarmingly huge, three-story, former hardware emporium on Orchard Street, where the blaring signage announcing Beckenstein Hardware, remains intact as a reminder of the building’s history, and underscores the persistence of the past in the ultra-modern light-filled interior.
Steinbergs paintings run the gamut in associations, from the lyricism of Paul Klee to the political satire of Thomas Rowlandson, to the elegantly limned Surrealism of Giorgio de Chirico.
Clear, bright, and crisp, Daniel Rich’s recent paintings might also be viewed as eerie and unstable.
In his intriguing, often provocative, interpolated show at the Brooklyn Museum, Rob Wynne builds, reflects, and—more literally—reflects on connections in American art. In doing so he manages to intervene in the course of art history itself. He pulls at the museum's paintings and sculptures and activates them through light and language, transmuting the collection by means of his signature hand-poured, mirrored glass.