Thomas Micchelli

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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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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Post image for Take Me to the River: William Buchina’s Redemption Paintings

Buchina keeps us guessing without falling into obscurantist traps, if for no other reason than the horror he depicts is steadily being eclipsed by the horror of actual events.

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Post image for Starkly Alien and Intimately Familiar: Maria Bussmann’s Drawings of Numbers and Words

I first saw Maria Bussmann’s work in a group exhibition at the James Nicholson Gallery in 2005, where she showed two very different sets of drawings.

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