Spearheaded by John Yau, Thomas Micchelli, and Albert Mobilio


Why I Am a Member of the Lee Harwood Fan Club

by John Yau on November 9, 2014

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Mark Ford’s blurb on the back of Lee Harwood’s most recent book of poetry, The Orchid Boat (London, Enitharmon, 2014), inspired me to look up the original review from which it was quoted.

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Maria Lassnig in New York, 1968–1980

by Joyce Kozloff on November 8, 2014

Maria Lassnig,

In this century, the Museum of Modern Art has presented a series of exhibitions of women artists from other countries: Lygia Clark, Isa Genzken, Alina Szapocznikow, Sanja Ivekovic, Marina Abramovic, Marlene Dumas, Pipilotti Rist, Lucy McKenzie. But very often, the accompanying texts place them in an artistic context comprised solely of their husbands, boyfriends and guy colleagues — as if their acclaim had separated them from their female peers.

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Susan Te Kahurangi King,

Very few creations are as hard to pin down as those produced by the most original self-taught artists, who primarily make their art for themselves rather than for the market or the public.

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Pablo Picasso,

“To a new world of gods and monsters” is the promethean pledge from one mad scientist to another in James Whale’s classic Bride of Frankenstein (1935), but it’s easy to imagine the same toast echoing from a Montmartre studio in 1909 as Pablo Picasso and Georges Braque raise a glass to the fractured new reality they’d uncovered.

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Required Reading

by Hrag Vartanian on November 2, 2014

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This week, an alternative history of US art, making bad reviews disappear, the art of sushi, LA and sci-fi, Picasso and the camera, and more.

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Weekend Words: Habit

by Weekend Editors on November 2, 2014

Giacomo Ceruti,

Picasso is suddenly everywhere — at the Cubism exhibition at the Metropolitan Museum, in gallery shows of his photography and his portraits of Jacqueline Roque, and at the long-delayed reopening of his museum in Paris.

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When I recall the poet Harvey Shapiro, who died not long before his eighty-ninth birthday in January 2013, I remember having lunch with him on a sweltering August afternoon in 2001, New York City’s hottest day in twenty-five years, or so the radio said.

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Catherine Murphy Looks Ahead

by John Yau on November 2, 2014

Catherine Murphy,

Catherine Murphy calls herself “an observational painter,” but that modest self-characterization tells only part of what she has been up to for the past twenty years.

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The Ensemble cast of

Perhaps there are a few whose steely hearts do not melt at the sight of a child in a tutu performing her first solo or, as the curtain rises, a lone grade-schooler pretending to be a tree. But 600 Highwaymen (writer/directors Abigail Browde and Michael Silverstone) figures no one can resist five prepubescent thespians, and they’re probably right.

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Installation view of

What most struck me about the now notorious Michelle Grabner review in the October 24th edition of The New York Times was that it was, unusually, surrounded by reviews of other painters.

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