John Yau

GalleriesWeekend

Peter Saul’s Hair-Raising Attacks

by John Yau on March 29, 2015

Post image for Peter Saul’s Hair-Raising Attacks

Peter Saul’s anarchic imagination is a singular phenomenon in American art.

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Post image for Suzan Frecon’s Patience Should Be Rewarded

The turning point for Suzan Frecon happened in 1989, when she saw the exhibition of the Swedish artist and mystic, Hilma af Klint: Secret Pictures at PS1.

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GalleriesWeekend

Rosalyn Drexler’s Noir Paintings

by John Yau on March 15, 2015

Rosalyn Drexler,

I wonder if the reason Rosalyn Drexler isn’t better known is because she is so good at so many different things. We recognize such mastery in men, but rarely in women.

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GalleriesWeekend

Lois Dodd’s Paintings of the Ephemeral

by John Yau on March 8, 2015

Lois Dodd,

In recent weeks, I have written about what I have defined as a grown-up painter, as opposed to what I called “the latest manifestation of a male adolescent painter, a clichéd archetype that gained traction in the Neo-Expressionist ‘80s, with the rise of Julian Schnabel, and has not been thrown over because lots of people still find this sort of chest thumping entertaining.”

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Post image for This Is Not a Book Review of ‘Model City’ by Donna Stonecipher

I want to begin by stating this is not a review of a Model City, a book of poems that I recently read. The author is Donna Stonecipher, an American poet and translator who has lived in Berlin for some years.

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GalleriesWeekend

What Does It Mean to Be a Grown-Up Painter?

by John Yau on February 22, 2015

Merlin James,

Isn’t it time we begin putting things in perspective?

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GalleriesWeekend

Al Taylor: Not Yet in from the Cold

by John Yau on February 14, 2015

Al Taylor,

New York’s art world institutions still haven’t recognized how good an artist Al Taylor was. They overlooked his work while he was alive, and seem hellbent on continuing that willful blindness now that he is dead.

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GalleriesWeekend

Master of Many

by John Yau on February 8, 2015

Philip Taaffe,

There used to be a time when curators could slap a label on a group of artists, claiming the work to be central, progressive, and an important part of their narrative of art history.

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Ann Gale,

As I have written previously, there is a lot of very good painting going on these days. It is just that you are not likely to see much of it at the Museum of Modern Art, the Whitney, or the Metropolitan Museum of Art, at least in recent memory.

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Post image for Weekend Studio Visit: Louise Belcourt in Williamsburg, New York

Despite the hue and cry about zombie formalism, there is a lot of very good painting going on these days.

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