Thomas Micchelli

Double portrait of Pier Paolo Pasolini

ROME– Pier Paolo Pasolini is the JFK of Italy: a figure of courage and freedom for some; for others, polarization and dismay. His death, forty years ago this year, is still a source of debate.

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Post image for Speaking the Language of Paint: Karen Schwartz at Life on Mars

The paintings in Karen Schwartz’s show at Life on Mars are big, bold semi-abstractions that skate along the edge of chaos.

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Judith Bernstein,

Sometimes you think you have a handle on an artist’s work, and then a new piece of information comes along that casts it in an entirely different light.

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Utagawa (Gountei) Sadahide, “The Newly Opened Port of Yokohama in Kanagawa Prefecture” (1860)

Discovering Japanese Art: American Collectors and the Met is the unsexy title of a luxuriantly sensual exhibit that speaks with uncanny precision to our post-postmodern moment.

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Post image for The Triumph of Revisionism: The Whitney’s American Century

With America Is Hard to See, the exhibition inaugurating its luminous new Renzo Piano building, the Whitney has reclaimed its role among the city’s museums as the engine of the new.

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Post image for The Nature of Things: Daisy Youngblood’s Clay, Sticks and Stones

In 2003, Daisy Youngblood collected her MacArthur prize and decamped to Costa Rica. The sculptures in her current solo at McKee Gallery, Daisy Youngblood: Ten Years 2006-2015, covers the work she’s done since, a ménage of animals and humans, clay and hair, rocks and sticks, where the mythic is extracted from the dregs of the earth.

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Keith Haring,

Ten years ago, the Morgan Library & Museum decided it was time to bring its collection up to speed on the art of drawing in the 20th and 21st centuries — a daunting task in itself, and even more improbable in the face of a superheated, late-capitalist art market: at the feast of the trophy-eaters, would the museum be forced to content itself with scraps?

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Rirkrit Tiravanija

A few months after having been roundly trounced for The Forever Now: Painting in an Atemporal World, its attempt to assess the current state of painting, the Museum of Modern Art opened a reinstallation of its contemporary collection on the same day as its Björk fiasco.

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Post image for Confounding the Eye: “Breaking Pattern” at Minus Space

Optical painting has been making its presence felt lately, with its 21st-century manifestation swapping the psychedelia and illusionism of its Sixties progenitor, Op Art, for an emphasis on process, systems and formal interrogation.

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Post image for Taking the Minimal Out of Minimalism: Robin Peck’s Abstract Skulls

There are nine lumps of plaster and Hydrocal — covered in yellowing shellac and polished wax — on display at CANADA on the Lower East Side, their domed tops roughly the size and shape of a human skull (hence the title of the exhibition, Crania).

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