Tibor de Nagy Gallery

John Ashbery,

I do know that I had no intention of writing about the two exhibitions currently at Tibor de Nagy, John Ashbery & Guy Maddin: Collages and Richard Baker: The Doctor is Out, when I went to the gallery.

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Sarah McEneaney,

I visited Sarah McEneaney at her home in the Callowhill / Trestletown / Chinatown North neighborhood of Philadelphia.

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The Wonderful World of Rudy Burckhardt

by John Yau on December 28, 2014

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When it comes to the artistic community of New York City, especially from the late-1930s to the end of the 20th century, I can think of many writers, photographers, and artists who readily qualify as flâneur, but there is only who matched Charles Baudelaire’s description of the “passionate spectator.”

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Jane Freilicher in her studio (1984)

Jane Freilicher’s still-life paintings have a large-scale, panoramic quality associated with landscapes. Conversely, her landscapes focus on nature’s compactness and textures so that they convey the intimate solidities of still-life.

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Post image for Kathy Butterly and the Aesthetic Challenge of “No Two Alike”

I don’t think it is an exaggeration to say that ceramics are finally beginning to get some serious attention in New York. There is still a very long way to go, but the city does seem to be waking up to ceramics as an art form.

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Richard Baker Kicks Out the Jams

by John Yau on February 9, 2014

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For the past decade, Richard Baker has developed two distinct but related bodies of work, one in oil and the other in gouache: the oil paintings depict tabletops covered with all sorts of printed ephemera and bric-a-brac; the gouaches are of book covers and, more recently, record covers.

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Post image for Enamored Magicians: The Hermetic World of Jess and Robert Duncan

An Opening of the Field: Jess, Robert Duncan, and Their Circle presents a slice of the rich Northern California art world of the postwar years. Much of what is here is not “gallery art,” in a commercial sense, but art created by and for a small community of friends, colleagues, and lovers, rooted in a specific place and cultural moment.

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A Painter’s Sensuous Discipline

by John Goodrich on January 6, 2014

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Consider two reds: a pure cadmium red medium — all fiery denseness — alongside a burnt sienna, equal in tone but utterly different in character: subdued, stoic, retiring. They jostle and shift, eager to separate. Plunk next to them a throng of blues, some deep and jewel-like, others brightly vacant. Leverage them with various greens; punctuate with small, dense patches of light and dark.

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Post image for An American in Paris: Shirley Jaffe’s Paintings from the 1970s

About her work, Shirley Jaffe has stated: “I want a certain tenseness, a congestion or a combination of forms in which none is stronger than any other. I’m interested in the idea of coexistence.” In her current exhibition, Shirley Jaffe: Paintings from the 1970s at Tibor de Nagy (October 17–November 23, 2013), there are six paintings, most of which were done around the middle of the decade. They remain fresh.

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Post image for How to Kiss the Sky: Kyle Staver’s Recent Paintings

You don’t see Kyle Staver’s dark, moonlit domains so much as become their invisible and unacknowledged witness and ally. In an age riddled with cynicism and laced with irony, she envisions a shameless alternative in which mythological figures, such as Daphne, Andromeda, Syrinx, Perseus, and a satyr, are at home.

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