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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Dana Schutz compare and contrast
On artnet, Abraham Orden looks at the “Arcadian world of painting” in current New York gallery shows.
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, […]
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 […]
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 […]
Ellsworth Kelly rocks at the Tate Modern
In The Guardian, Jonathan Jones wonders why gallery goers aren’t blown away. “If Kelly makes you see the sheer beauty of minimalism – as opposed to the ready-made conceptualism it is so often seen as a dumb vessel of – he also connects contemporary, living art with the heritage of […]
Turner Prize shortlist: painters given the brush-off
After awarding Turner Prize to abstract painter Tomma Abts last year, not a single painter makes the 2007 shortlist .
In the isolation hut
High Times, Hard Times: New York Painting 19671975 On Artnet, Jerry Saltz reviews this “saber-waving, opinion-altering show, for the simple if thrilling reason that it posits an art-historical missing link. Its composed entirely of abstract work made by painters who were born too late to be Pop artists or hard-core […]
Op Art is back…again.
David Rimanelli writes in the May issue of Art Forum that Op Art, the subject of two big museum shows, is back. After seeing the shows, he begins to “reconsider the Op-is-junk bias.”
