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The inscrutable Sigmar Polke

In today’s NYTimes, Carol Vogel visits Polke in his Cologne studio before he ships his paintings to the Venice Biennale. As is always the case with his work, Mr. Polke said, the paintings for the biennale sprang from specific ideas yet evolved in mystical ways as he experimented. “This is […]

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Roberta Smith looks at German paintings made with a wink and a sneer. “Painting may go in and out of fashion, but its many lifesaving graces always keep it afloat. One is its capacity for what might be called beautiful sarcasm, a sly self-parody while still looking good that is […]

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David Godbold’s mirthless mirth

Ben Davis dissects David Godbold’s snarky exhibition in artnet today. “Contemporary art is universally irreverent, but most often none too funny. This observation is particularly striking when one considers the fact that a lot of it, particularly that inspired by Big Daddy Marcel Duchamp, owes its very being to the […]

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Edward Hopper’s Feng Shui

Peter Schjeldahl reviews the Edward Hopper retrospective at the Boston Museum of Fine Arts.The scale of the paintings is indifferent, in the way of graphic art. Their drawing is graceless, their colors acrid, and their brushstrokes numb. Anti-Baroque, they are the same thing when looked at up close and when […]

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Michael Kimmelman NYT review of Myron Stout

Art Reveiw The canvas, Stout wrote, came not from any remembered form of flowers or flower beds but from a tree outside the door, a tree that the thin foliage of the lower reaches allowed the rising branches to be seen, rising, yet moving sideways, toward each other. His small, […]

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Dana Schutz Fest

Schutzs new paintings are at Zach Feuer through May 19. Holland Cotter weighs in on Schutz’s show at Feuer in The New York Times. “The art industry requires that at least one young artist be shot into the stratosphere every few years. The painter Dana Schutz was the choice in […]

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The accumulated weight of experience

Richard Rhodes on the new abstraction: “Painting has regained its relevancesocially and professionally. It has re-established a life for images beyond photography and the mass media. It stands as an alternative to conceptualist artmaking. Once buried by art theory, it has returned to reconnect with centuries of art and to […]