Thomas Micchelli

Post image for “The Point at Which All Ideas Fall Apart”: Fred Sandback’s Grand Illusions

Fred Sandback could be considered, and not without reason, as the purest and most unsparingly geometric member of a rigorously formalist generation, a cohort that included Donald Judd, Dan Flavin, Richard Serra, and Sol LeWitt.

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GalleriesWeekend

Sending Collage Down a Rabbit Hole

by Thomas Micchelli on September 17, 2016

Post image for Sending Collage Down a Rabbit Hole

If you’re looking for clues to the dizzying imagery of Tim Spelios’s collages, you’re not going to get very far.

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GalleriesWeekend

A Struggle for Balance

by Thomas Micchelli on September 10, 2016

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The muscular abstractions of Ivo Ringe may appear to have little in common with the calibrated colored squares of Josef Albers or the mysticism of Joseph Beuys — or, for that matter, the science of classical proportions, the cellular patterns of plants, or the molecular growth of crystals — but such disparate concerns constitute the connective tissue that makes them what they are.

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Titian,

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

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MuseumsWeekend

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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GalleriesWeekend

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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