Contributed by Anna Gregor / If yesteryear the call for negative art criticism rang clear and true, today complaints about the state of art blur into an inarticulate whine. Be they artist or critic, Marxist or capitalist, academic or anti-intellectual: everyone is dissatisfied. Or so it seems. Despite their complaints, however, one starts to suspect that few of the YouTubers, Substackers, or Instagrammers who presume the title of critic want the circumstances they complain about to change, so lacking are they in convincing diagnoses of present problems and convinced visions of alternatives, not to mention actual critical engagement with artworks.
Tag: Phillip Guston
Divergent simplicities: Diana Horowitz and Janice Redman
Contributed by Margaret McCann / In two shows at Bookstein Projects, excess and essence complement one other from opposite ends of simplicity. Janice Redman’s “Rough Alchemy” in the side gallery presents mostly small, hand wrought sculptures that project vulnerability, earnestly offering themselves in all their imperfections to our subjective examination. In the main gallery, Diana Horowitz’s “Light is a Place” highlights objectivity in landscape paintings that broadcast optical truth from across the room despite their tiny size. In portraying distance, they keep their own, reticently holding the walls.


















