The first time I saw Judith Scott’s work was in Rosemarie Trockel’s retrospective, A Cosmos, at the New Museum.
The Museum of Modern Art’s current retrospective of Sturtevant’s work, Double Trouble, is a study in movement.
Albert Oehlen’s current show at Skarstedt, a selection of 14 “fabric paintings” made between 1992–96, is explosive. Explosive as in a burst or the arrival of a fiery red comet on earth.
Silenced, erased, censored — how then to represent this loss, this nothingness?
WALTHAM, Mass. — At the Rose Art Museum at Brandeis University, the art historian Katy Siegel has curated an exhibition titled The Matter that Surrounds Us, a group show of Wols and Charline von Heyl.
The current show at Gagosian, Portraits of America: Diane Arbus/Cady Noland is in a small gallery reachable only by walking into and through the Gagosian’s Upper East Side gift shop. In order to see the exhibition, to enter the gallery, one must first pass through this physical barrier.
Walking into Sarah Cain’s current show, Burning Bush, at Gallerie Lelong is to be restored.
The reason we feel great pleasure when gazing at Genzken’s sculptures is because they, or rather she, gives us the experience of seeing the world as if for the time. She returns us to our infant selves.
How important is it to control one’s image, to have mastery over one’s oeuvre? As a female artist, to allow one’s life and work to merge is risky. It is a softness.
When we talk about Balthus what we talk about are perversities: a grown man painting erotically charged portraits of Lolita-like young girls with their skirts flapped up like flowers.