John Yau

EssaysWeekend

Gladys Nilsson’s Portraits of Everywoman

by John Yau on November 23, 2014

Gladys Nilsson,

There is something wonderfully incongruous and deeply disquieting about Gladys Nilsson’s art, which is primarily done in the medium of watercolor.

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Post image for Some Thoughts About Richard Serra and Martin Puryear (Part 2: Puryear)

Like Serra, Puryear went to Yale’s famed M.F.A. program (1969-71), but he attended five years after Serra had graduated. In fact, Serra and Robert Morris were visiting artists while he was a student there.

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Richard Serra, “Inside Out” (exterior view) (2013)

It is easy to forget that Richard Serra (b.1939) and Martin Puryear (b.1941) were born only two years apart. The different relationships that they developed toward craft and materials makes it all too easy to overlook that they are nearly contemporaries.

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PoetryWeekend

Why I Am a Member of the Lee Harwood Fan Club

by John Yau on November 9, 2014

Post image for Why I Am a Member of the Lee Harwood Fan Club

Mark Ford’s blurb on the back of Lee Harwood’s most recent book of poetry, The Orchid Boat (London, Enitharmon, 2014), inspired me to look up the original review from which it was quoted.

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EssaysWeekend

Catherine Murphy Looks Ahead

by John Yau on November 2, 2014

Catherine Murphy,

Catherine Murphy calls herself “an observational painter,” but that modest self-characterization tells only part of what she has been up to for the past twenty years.

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PoetryWeekend

The Beauty of Christopher Middleton’s Prose

by John Yau on October 26, 2014

Post image for The Beauty of Christopher Middleton’s Prose

A few years ago, in an essay called “Why I am a Member of the Christopher Middleton Fan Club,” I stated the need for “a selected prose that brings together all the different kinds of writing he has done.” Loose Cannons: Selected Prose, which includes an insightful foreword by one of Middleton’s most vocal and articulate champions, August Kleinzahler, is pretty close to the book I had in mind.

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Post image for Against Despotic Forms of Perfection: Jane Corrigan’s New Paintings

The focus of Jane Corrigan’s first solo show at Kerry Schuss is young female athletes who, by virtue of their age – they are adolescents – are likely to be undergoing biological changes as well.

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Angela Dufresne,

In the foreground of the painting, “Dwarf, Goat, Woman, Man and Head” (2014), a young woman in a striped red and blue bikini is standing in a forest, where it has recently snowed, multitasking. She cradles a decapitated head in the crook of her left arm, while, with her right hand, she is about to push down on the head of a naked dwarf with an erection standing beside her.

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GalleriesWeekend

Harriet Korman’s Chromatic and Linear Improvisations

by John Yau on September 21, 2014

Harriet Korman, 'Untitled

The key to Harriet Korman’s work is drawing. However, until this exhibition, Harriet Korman: Line or Edge, Line or Color, New Paintings and Drawings, at Lennon, Weinberg she has tended to show only a few drawings at a time.

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GalleriesWeekend

James Bishop’s Incommodious Beauty

by John Yau on September 14, 2014

James Bishop,

I have been waiting to see a large selection of James Bishop’s paintings since the mid-1970s, ever since reading John Ashbery’s appraisal in a secondhand copy of Art News Annual 1966.

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