Thomas Micchelli

Installation view of

Memories, in John Brill’s work, are things — photographs, often grainy and myopic, enshrined in everyday reliquaries: vintage frames, candy dishes, glass bowls, teacups and saucers.

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Post image for An Early Thanksgiving: The Wagner Gift to the Whitney

Opening in the shadow of the Paris attacks, the exhibition Collected by Thea Westreich Wagner and Ethan Wagner represents — as Adam Weinberg, the director of the Whitney Museum of American Art, said in his remarks at the press preview — “a celebration of what matters in life.”

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Post image for Mapping the Body: Mark Bradford’s New Work

Three years ago I wrote a review titled “Is Mark Bradford the Best Painter in America?” It wasn’t an altogether serious question, but it wasn’t facetious either.

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Post image for Bodies at War: ‘Soldier, Spectre, Shaman’ at MoMA

World War II signaled the death of figurative art, or so the High Modernist narrative once contended.

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Post image for Something Worth Arguing About: Frank Stella Fills the Whitney

Frank Stella: A Retrospective, which opened yesterday at the Whitney Museum of American Art, is a brilliantly curated, blatantly overhung masterstroke of an exhibition that turns the artist’s weaknesses into strengths and his strengths into powerhouses.

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Gregory Gillespie,

When I left Gregory Gillespie: rorschaching at Steven Harvey Fine Art Projects on the Lower East Side, I decided to leave it alone.

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Coming Back to Kiefer

by Thomas Micchelli on October 17, 2015

Post image for Coming Back to Kiefer

NORTH ADAMS, Mass. — Nearly eight years ago I wrote a review leading off with the question, “What is it about Anselm Kiefer’s art that inhibits unfettered admiration?”

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The Atlas Group/Walid Raad,

The survey exhibition dedicated the work of Walid Raad, which opens to the public on Monday at the Museum of Modern Art, is a rich and compelling point of entry for anyone seeking a handle on this sly and elusive artist.

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Post image for Every Picture in the World: William Buchina’s Dream Logic

William Buchina’s disquieting, enigmatic, and prodigiously complex paintings are one artist’s answer to the relentless media barrage that defines our visual culture, counteracting its torrent of images with a seemingly inexhaustible barrage of his own.

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Post image for The Skin She Lives In: Jackie Saccoccio Paints Big

To say that Jackie Saccoccio’s big, drippy, radiant abstractions are all about surface — the skin of the paint — is to say everything and nothing about them.

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