John Yau

GalleriesWeekend

Mary Heilmann Invites Us to Join Her in Arcadia

by John Yau on November 29, 2015

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When I first wrote about Mary Heilmann for Artforum (January 1987), one thing I had in mind was the strong impression that her first great painting, “Save the Last Dance for Me” (1979), had made on me some years earlier, when I saw it at the Holly Solomon Gallery.

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GalleriesWeekend

The Necessary Insolence of Peter Saul

by John Yau on November 22, 2015

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Peter Saul has an uncanny ability to seamlessly combine the hilarious and the hideous to great effect. In the middle of chortling at one of his wacky, indecorous paintings, you are apt to suddenly notice an odd and even disturbing detail.

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GalleriesWeekend

Slip, Sliding Away with John Walker

by John Yau on November 15, 2015

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What do Richard Diebenkorn and John Walker have in common? When they sink their teeth into something, they aren’t likely to let it go.

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GalleriesWeekend

Squeak Carnwath’s Guilt-Free Zone Is Our Space

by John Yau on November 1, 2015

Squeak Carnwath,

Squeak Carnwath’s exhibition, What Before Comes After, at Jane Lombard is the artist’s first with the eponymous gallery (formerly Lombard Fried) and her first in New York since 2000.

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MuseumsWeekend

Alberto Burri’s Challenge

by John Yau on October 25, 2015

Alberto Rossi,

The exhibition Alberto Burri: The Trauma of Painting, currently at the Guggenheim Museum, is the first large-scale survey of this artist’s work in America since the museum’s previous survey in 1978.

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MuseumsWeekend

A Tantalizing Glimpse into the World of Barbara Rossi

by John Yau on October 18, 2015

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There are five artists among the Chicago Imagists who did reverse paintings on Plexiglas between the late 1960s and the mid-70s: Jim Nutt, Gladys Nilsson, Ed Flood, Karl Wirsum and Barbara Rossi.

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Post image for The Beautifully Dressed Skeletons in Japan’s Closet

In a letter dated July 23, 1938, sent by the Japanese modernist poet Yone Noguchi to the Nobel Prize winning author Rabindrath Tagore — the first non-European to receive the award — Noguchi wrote the following justification for his country’s invasion of China, effectively ending their friendship:

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Post image for Recovering Abstraction: McArthur Binion’s Intimate Grids

McArthur Binion’s exhibition, Re: Mine, currently at Galerie Lelong stirred up a swarm of associations while I was looking at it, and the buzz did not die down after I left the gallery and decided to walk home amidst the late afternoon din of Manhattan traffic and people in a rush to get home.

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GalleriesWeekend

It Is What It Isn’t

by John Yau on September 27, 2015

Patrick Strzelec,

It has been two years since Patrick Strezelec had his first exhibition of sculptures in New York in more than a decade.

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GalleriesWeekend

No Luxe, Calme, et Volupté for You, Baby

by John Yau on September 20, 2015

Dana Schutz,

I was unexpectedly reminded of the wonderfully irreverent filmmaker Seijun Suzuki while looking at Dana Schutz’s painting, “Slow Motion Shower” (2015), which is included in her current exhibition, Fight in an Elevator, at Petzel.

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