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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Since Julian Schnabel first gained attention with his broken plate paintings in the 1980s, he has been predisposed to working on found surfaces – animal skins, velvet, corduroy, sail cloth, tarpaulins, canvas flooring from boxing rings, wallpaper, navigation maps, flags, Kabuki theater backdrops, an
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Peter Dreher was born in Mannheim, Germany, in 1932, the same year as his fellow countryman, Gerhard Richter. Like Richter, Dreher was an adolescent by the war’s end, an inheritor of an unwanted legacy, which haunts his work to this day. At the same time, Dreher might be seen as the antithesis of Ri
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CHICAGO –– I first saw Leslie Baum’s work in a sprawling group show, My Crippled Friend, at the Canzani Center Gallery (October 11, 2013–January 10, 2014), the main exhibition space of Columbus College of Art and Design (Columbus, Ohio).
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Initially I was skeptical, but Philip Hanson’s three paintings on the fourth floor of the Whitney Biennial got me to look and think again. The twelve paintings in his exhibition, I am a child of the Light, student of the Dark, at Corbett vs. Dempsey (March 21–April 19, 2014) convinced me.
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Joanne Greenbaum is hellbent on making each painting different from the ones preceding it. This was immediately evident when I walked into her first exhibition with Rachel Uffner Gallery, where she is inaugurating the gallery’s new large space with eight large paintings, all 90 x 80 inches.
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On the face of it, Gary Stephan’s paintings seem straightforward and austere. Done in acrylic, their viscosities of paint, range from striated, semi-transparent brushstrokes laid down with the same consistency as they span the canvas, to watery, semi-transparent irregular shapes, to solid geometric
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Andreas Slominski’s exhibition at Metro Pictures, which closes today, is the perfect riposte to those enthralled with the expensive baubles of Jeff Koons, or with designer fashions, reality TV, and the gaseous personalities populating these self-inflated, narcissistic times.
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Regrets — the collective title of Jasper Johns’s most recent series of paintings, drawings, and prints — is currently on display at the Museum of Modern Art, New York (March 15–September 1, 2014). The inspiration for the series was a ripped, crumpled and stained photograph of Lucian Freud perched on
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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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For the first time in America, we have the opportunity to see the stark abstract paintings and drawings of the Croatian artist Julije Knifer (1924–2004), which are on display at Mitchell-Innes and Nash through today.
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For Gideon Bok, painting, which has historically been defined as a container, a window, or a two-dimensional surface, is at least all three at once. Although I have no proof, I also felt that Bok may also think of painting as a screen.
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In Michelle Segre’s sculpture “Self-Reflexive Narcissistic Supernova” (2013), a mushroom cap — made of wax and five feet in diameter — lies on its side in a provocative position evoking a horn, ear, and vagina — a form that receives and/or transmits.