Thomas Micchelli

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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Post image for The Formation of Georgia O’Keeffe

In 1916, Georgia O’Keeffe landed a job teaching art at West Texas State Normal College (now West Texas A&M) and moved to a town called Canyon.

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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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