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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At last, New York is getting to see a broad range of work by Steve Roden, an L.A.-based artist who makes paintings, drawings, sculptures, sound compositions and sound installations determined by self-invented systems.
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This is the second exhibition of Allison Miller at Susan Inglett Gallery. I was struck by the quiet independence of her first New York show, which I reviewed. The recent show further convinced me that Miller — who refuses to make work that is stylish, seductive, charming, nostalgic, retro, ironic or
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In an illuminating interview with Barbara Takenaga, Robert Kushner makes an observation that goes to the heart of a question that I want to raise about the artist’s recent work …
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For those who think they know the work of Paul Feeley (1910–1966) the current exhibition will likely come as a surprise
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Angels, Demons, and Savages: Pollock, Ossorio, Dubuffet, which was organized by Klaus Ottmann and Dorothy Kosinki for The Phillips Collection, Washington DC. (February 9–May 23, 2013) and is currently at the Parrish Art Museum, Watermill, New York (July 21–October 27, 2013), is — for many reasons —
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In his introductory essay to Vitamin P, a survey of contemporary painting first published by Phaidon in 2002, the poet and critic Barry Schwabsky takes pains to point out the variety of stylistic positions available to a contemporary painter. In doing so, Schwabsky suggests that there is no single i
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I was very happy to see the exhibition, but I was not surprised that Ken Price (1935–2012) had to wait until he was safe in heaven dead to have his first museum show in New York, Ken Price Sculpture: A Retrospective, at the Metropolitan Museum of Art, New York.
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I left Katherine Bradford’s first museum show, August, at the Bowdoin College Museum of Art, Brunswick, Maine (June 29 – September 1, 2013) wishing for an in-depth survey. As it is, there are eight paintings ranging from 10 x 10 inches to 68 x 80 inches — a sumptuous sampling — exhibited in one gall
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I have been following Catherine Murphy since 1980, when I first saw her work at Xavier Fourcade. My interests are purely selfish: she is uncompromising in ways that I admire, which is to say she is not dogmatic. Always in hot pursuit of what she sees — subjects so commonplace and underfoot that othe
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GLASGOW — My first encounter with the Scottish artist Richard Walker was when I went to his exhibition House Paintings at the Alexandre Gallery (November 29, 2012 – January 5, 2013). Measuring around 15 x 20 inches, and done on panels, Walker’s paintings were observations of a darkened room at night
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In drawing, a line need not become a contour or an image. In sculpture, this resistance to becoming is harder to pull off. For all their insistence on pure abstraction, Donald Judd makes boxes and Richard Serra makes steel fortresses. The problem is that this kind of sculpture smacks of signature sh
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PARIS — At ninety, the painter Geneviève Asse is one of France’s national treasures, though France has yet to fully celebrate that fact, as it has with Pierre Soulages, who is four years her elder. A postage stamp with her profile in front of one of her abstract paintings has been issued (Soulages a