Thomas Micchelli


Titian’s “The Flaying of Marsyas” is among the most celebrated and disturbing images the Venetian master ever painted.

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The Enabler

by Thomas Micchelli on August 13, 2016

John D. Graham,

If measured as a flame to kindling, John D. Graham was arguably the most consequential figure in 20th-century American art.

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Post image for When a Splotch Isn’t Just a Splotch

This two-gallery extravaganza takes up the tricky gambit of featuring “artists whose work involves a methodical and controlled process of creating seemingly freeform or random daubs and spots.”

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Art, Work, and the Workaday

by Thomas Micchelli on July 30, 2016

Post image for Art, Work, and the Workaday

The lobby gallery at the Skidmore, Owings & Merrill-designed midtown office tower at 1285 Avenue of the Americas, with its partitioned walls flanked by floor-to-ceiling windows on the north and south sides of the building, is unusually well-suited for both casual and concentrated encounters with art.

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Post image for The Shelf Life of Political Art

Tucked into a side wall at Postmasters Gallery in Tribeca, as part of a handsome group show called Grayscale, there are five new drawings by William Powhida, one of which is titled “Is Donald Trump an Existential Threat? Or Just A Major Asshole…”

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Post image for Contemplating Perfection and Imperfection at Dia:Beacon

A visit last weekend to Dia:Beacon, the vast repository of Minimalist art on the east bank of the Hudson River, brought home once more the complexities and contradictions of a movement whose goal was to be as plain as the nose on your face.

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Post image for Painting from the Ground Up

The first paintings you see in Construction Site, the new exhibition at McKenzie Fine Art on the Lower East Side, are three slabs of red polyurethane resin with wood inlays by Noah Loesberg.

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Post image for From Flint with Love, Art of the African Diaspora

Unlike many notable private art collections that serve the public good only after they have been donated to a museum (or turned into museums of their own), the Mott-Warsh Collection was conceived to fulfill a larger social purpose.

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Agnes Martin, Irreproducible

by Thomas Micchelli on June 18, 2016

The Agnes Martin Gallery in the Harwood Museum of Art

When a cloud passes overhead, the paintings all but disappear.

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Post image for A Community Maintains Its Monument

Of all the celebrated structures in the United States, the San Francisco de Asis Mission Church in Ranchos de Taos, New Mexico, is arguably the humblest.

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