Reviews

Post image for Reader’s Diary: Robert Glück’s ‘Communal Nude’

Some of Robert Glück’s essays came my way in the 1980s via such publications as Poetics Journal.

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GalleriesWeekend

The Two Faces of Grace Jane

by John Yau on July 24, 2016

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Margot Bergman paints boldly simplified portraits of women on top of found paintings, which she salvages from flea markets.

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MuseumsWeekend

Upbeat and Edgy

by John Yau on July 24, 2016

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With the rise of artists desperate to align themselves with one compromised avant-garde tradition or another, it is useful to remember that Stuart Davis never fit in.

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BooksWeekend

Squaring the Circle

by Elizabeth T. Gray Jr on July 23, 2016

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John Peck is the author of ten volumes of poetry, a psychoanalyst, translator of Euripides and C. G. Jung’s The Red Book, a poet under-appreciated by or unfamiliar to most, yet long and deeply admired by a cadre of serious poets and critics on both sides of the Atlantic.

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MusicWeekend

Eleven Stories by Brandy Clark

by Lucas Fagen on July 23, 2016

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Country singer Brandy Clark’s new album, Big Day in a Small Town, out since June, is rocking loud and jangling pretty, but the temptation to treat her foremost as a lyricist remains.

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GalleriesWeekend

Clowns Never Get Caught

by Stan Mir on July 23, 2016

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Political campaigns, like Jasper Johns’s painting, “Flag,” are based on dreams.

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Post image for The Shelf Life of Political Art

Tucked into a side wall at Postmasters Gallery in Tribeca, as part of a handsome group show called Grayscale, there are five new drawings by William Powhida, one of which is titled “Is Donald Trump an Existential Threat? Or Just A Major Asshole…”

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Galleries

Nowhere to Go in a Desert of Images

by Seph Rodney on July 22, 2016

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In Xaviera Simmon’s CODED exhibition, now on view at The Kitchen, there are a lot of intersections between the human, sexualized (and colored) body, and wide, visually monotonous land- and seascapes.

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Post image for When a Body Is Reduced to Material for an Artwork

MIAMI — Laura Lima’s The Inverse isn’t experienced so much as it’s encountered: the massive swath of rope, deep blue and thickly knotted, traverses the entirety of the Institute of Contemporary Art (ICA) Miami’s Atrium Gallery, looping itself over beams and columns and scraping the floor.

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Post image for Figures of Steel that Embody Our Fears

Antony Gormley has consistently plied a practice that’s about articulations and permutations of the human body, often fabricating his forms in materials that can withstand the vicissitudes of the natural environmental.

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