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.
Art
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.
Art
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.
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There is a lot to say about Deborah Grant’s installation at the Drawing Center, Christ You Know it Ain't Easy!!, which was curated by Claire Gilman. What is so delicious about it is that at some point you will not be sure whether any of narratives you’ve applied to the work makes sense.
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Josephine Halvorson transcribes the anonymous, weather-beaten traces left by those who might otherwise have left no other mark of their existence behind.
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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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Albert Contreras, who was born during Franklin Roosevelt’s first term as President, is a lean and cheerful man around eighty years old. He lives and works in a small apartment two blocks from the Pacific Ocean.
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David Hammons’ thoughtful curation of the exhibition, 'Ed Clark: Big Bang', currently at the Tilton Gallery helps establish a much needed context for an important artist of the New York School, who, now in his late 80s, continues to make boldly exuberant paintings.