John Yau is an award winning poet, critic, curator, and publisher of Black Square Editions. He has published over 50 books of poetry, fiction, and art criticism.
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Bruce Conner (1933–2008) was a protean artist, who achieved something that is unlikely to be equaled anytime soon: he reinvented himself in every medium he took up, while remaining true to his perfectionist impulses.
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Tom Burckhardt just keeps getting better and better.
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I don’t know Robert Grosvenor, and I have never heard him give a talk, but years ago he made a huge impression on me.
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Since the beginning of this century a number of poets of Asian descent have published books that have helped redefine the field of study known as Asian American poetry, while challenging the various received definitions of what constitutes avant-garde or innovative writing.
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I urge viewers not to miss the rare opportunity to linger over Julia Fish’s paintings and drawings, which were last exhibited in New York in 2005. A group of recent works can be seen in Julia Fish: Threshold, currently on display at David Nolan Gallery.
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I want to believe that this is the beginning of the art world’s real and enduring appreciation of Brenda Goodman’s hard won achievement.
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Steve DiBenedetto’s current exhibition, Mile High Psychiatry, at Derek Eller marks a breakthrough for a painter who is best known for his encrusted surfaces jam-packed with helicopters, octopi and neural networks.
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Simply titled Thomas Nozkowski, this is the artist’s fourth solo exhibition at Pace Gallery since 2008, when he first joined the gallery, and this time he has pulled out all the stops.
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Peter Saul’s anarchic imagination is a singular phenomenon in American art.
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The turning point for Suzan Frecon happened in 1989, when she saw the exhibition of the Swedish artist and mystic, Hilma af Klint: Secret Pictures at PS1.
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I wonder if the reason Rosalyn Drexler isn’t better known is because she is so good at so many different things. We recognize such mastery in men, but rarely in women.
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In recent weeks, I have written about what I have defined as a grown-up painter, as opposed to what I called “the latest manifestation of a male adolescent painter, a clichéd archetype that gained traction in the Neo-Expressionist ‘80s, with the rise of Julian Schnabel, and has not been thrown over