Thomas Micchelli

Post image for Homage to Absurdity: The Restless Legacy of Dennis Oppenheim

Everything moves in It Ain’t What You Make It’s What Makes You Do It, a quirky funhouse of a show currently spinning, tapping, and pounding away at Valentine. And almost everything makes noise — a lot of noise. If you want to finish up the 2013–14 art season with a bang, this is the place to go.

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Post image for Ars Sacra: Mozart, Proust, and a Polka-Dot Dress

Rachel, Monique, Sophie Calle’s memorial to her mother, is installed in a side chapel of the starkly beautiful neo-Gothic Episcopal Church of the Heavenly Rest on Fifth Avenue and 90th Street. On a marble plaque beside the chapel entrance, the artist has overlaid a brief text noting that her mother was not a Christian, but she would never pass up an invitation to the Upper East Side.

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Post image for A Viral Longing: Anna Maria Maiolino’s Art of Dislocation

“The intestine is a hole that we can never fill,” Anna Maria Maiolino tells the curator Helena Tatay in a wide-ranging interview published on the Documenta 13 website, “just as we can never fulfill desire.”

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Post image for Burning into the Night: Maria Lassnig’s 70 Years of Painting

Maria Lassnig’s retrospective at MoMA PS1 is the largest survey of her work ever mounted in the United States. It reveals an idiosyncratic artist whose quirks and caprices, especially in her later work, can feel willful, even perverse — up to a point.

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Post image for One Hell at a Time: Matt Freedman’s Cancer Chronicles

To be honest, Relatively Indolent but Relentless, Matt Freedman’s artist’s book recounting his 35-day incarceration on Planet Cancer, got me at the dedication: “For Radiant Jude.”

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Post image for Monsters’ Ball: Peter Saul and the Company He Keeps

The great iconoclastic painter Peter Saul, for the first time ever, has turned his hand to curating, gathering together nearly two dozen kindred spirits for a show that revels, as to be expected, in the libidinous and the ravenous, the stunted and the scared, the blinkered and the grotesque — that is to say, humanity. The effect, as to be expected, is sublime.

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Post image for Down in Jungleland: Laura Sharp Wilson’s Crystalline Delirium

Irresistibly baffling, Laura Sharp Wilson’s paintings ensnare us inside a post-industrial jungle of tangled cables and serpentine vines, blinding yellow days and blacker than black nights. Her crisply articulated forms thrust, loop, spiral, dangle, cluster, zigzag, and coil edge-to-edge with a singular clarity that sidesteps chaos for a state of wide-eyed delirium

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Post image for Like It Is: William Powhida at Postmasters

William Powhida has been tracking the feeding habits of the oligarchy for years, which makes it seem almost prophetic that the Supreme Court struck down overall spending limits on Federal elections during the run of Overculture, his second solo show at Postmasters Gallery.

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Post image for Probing the Unknowable: Judith Bernstein’s Black Light Paintings

Sometimes ferocity fades over time. Sometimes it doesn’t. For Judith Bernstein, it just gets bigger, brighter and wilder. Now in her seventies, Bernstein has been dishing out the unpalatable for more than forty years with no sign of letting up.

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Post image for Connecting Across Time: Piero at the Met

This is the last weekend to catch Piero della Francesca: Personal Encounters at the Metropolitan Museum of Art, a selection of four devotional pictures never before seen in the United States.

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