Thomas Micchelli

Post image for Myth, Flesh, and Three Paintings by Charles Garabedian

There is a small exhibition in memory of Charles Garabedian (1923 – 2016) currently at Sidecar, the adjoining annex space of Betty Cuningham Gallery on the Lower East Side.

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Post image for Adam Simon’s Deadeye Realism

As is often the case with Simon’s work, the logo paintings require a period of conceptual catch-up before they can be seen as what they are, rather than as what they seem.

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Post image for Inclusive, Eclectic, Dazzling: The Paintings of Katherine Tzu-Lan Mann

Mann begins each work with splashes of ink and water across the surface of the paper, prompting a series of painterly moves that invariably lead to extreme, layered, engulfing complexity.

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Post image for Lessons in Gigantism: Richard Serra Makes It Work

And then there’s Richard Serra, whose double-gallery blowout at Gagosian is Exhibit A for material-intensity-meets-overwhelming-scale. There’s nothing else like it.

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Post image for Never Mind the Bollocks, It’s the Met’s Breuer Now

I realize that I’m coming late to the party with Unfinished: Thoughts Left Visible, one of the three debut exhibitions of the Met Breuer, and I have little to add to the conversation about the fundamental problem with the show.

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Post image for Flesh and Bones: Philip Guston’s “Thingness”

The idea of an abrupt transition between the abstract work and the late figuration has become so ingrained in the narrative of Guston’s career that a view suggesting a more gradual evolution might meet with resistance.

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Post image for Theater, Science, Music: The Expansive Art of Fausto Melotti

There are numerous points of beguilement throughout the show, beginning in the very first room off the street.

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MuseumsWeekend

Smeary Smeary Edgar Degas

by Thomas Micchelli on April 16, 2016

Post image for Smeary Smeary Edgar Degas

The first picture that caught me up short was “Factory Smoke” (1877–79), hanging alone on a freestanding wall in the middle of the gallery.

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Post image for Fearless Symmetries: Judith Braun’s Carbon-Based Art Forms

The unclassifiable drawings of Judith Braun are now on view in two concurrent, very different solo exhibitions.

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Post image for What Isn’t There: Audra Wolowiec’s Sounds, Scents, and Erasures

If the exquisitely mercurial art of Audra Wolowiec can be reduced to a single factor, it would be breath.

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