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
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
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DUBLIN — Phillip Allen is an English abstract painter in his mid-forties, whose interest in the material possibilities of his medium — ranging from felt tip pens to oil paint and enamel — informs nearly everything else. He would finish a felt tip pen drawing in one sitting, and then, using the drawi
Art
DUBLIN — John Cronin, an abstract painter in his late 40s, who has been exhibiting his work regularly in Ireland since the late 1980s, was – for this viewer - a wonderful revelation. Little known in America, it was clear from the moment that I walked into the high-ceilinged gallery space that Cronin
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DUBLIN — Patrick Jones, an English abstract artist now in his mid-60s, spent a considerable amount of time in America. After studying art in England, most notably at the Birmingham College of Art, he left to get his MFA at the Maryland Institute College of Art. This was in the 1970s. While in Americ
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Why Blagdon’s “The Healing Machine” (c. 1950–86), which consists of more than 400 separate pieces — paintings on wood, boxes full of found materials, and intricate wire hangings — survived.
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As the child of an interracial marriage (I got to meet my blue-eyed, English grandmother when I was seven, later discovering that she bore an uncanny resemblance to Virginia Woolf), I have to admit to having more than a passing interest in Laurel Nakadate’s most recent, ongoing photo project, Relati
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Ever since Mark Greenwold first began exhibiting in 1979, a lot of gibberish has been written about his highly detailed, modestly scaled oil paintings of disquieting domestic situations. One critic, willfully forgetting that there is a difference between fact and fiction, viciously attacked his firs
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Thomas Nozkowski wasn’t thinking about Philip Guston’s “Untitled” (1980) while he was working on “Untitled (9-21)” (2012), but the number of formal attributes they share — from size to composition and imagery — has proven hard for me to ignore. It was while I was looking at Nozkowski’s “Untitled (9-
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I am tired of critics characterizing George Sugarman (1912–1999) — whose work was either overlooked or marginalized during his lifetime — as an idiosyncratic sculptor. By labeling him in this way, they are able to suggest that the neglect was partially his own doing, and to imply that he wasn’t inte
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I still remember the ripples of titillation — occasionally marked by muffled, satisfied guffaws — that spread predictably through the art world when Jeff Koons first exhibited his shiny white and gold porcelain sculpture, “Michael Jackson and Bubbles” (1988) at Sonnabend in 1989. The sculpture was p
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There is something subversive about Philip Taaffe’s interest in how information can be preserved and transferred from one medium to another. Since the early 1980s, when he first began gaining attention, he has mastered a wide range of processes — including collage, linocut, woodblock, rubber stamp,
Books
Sometimes, it is hard to remember that Social Media came along years after the rise of the personal computer and the Internet, which Al Gore called the “Information Superhighway.” But like the highway in Jean-Luc Godard’s apocalyptic comedy, Weekend (1967), the Internet is littered with refuse and u