Much attention is being focused on the paintings of the late Japanese Gutai painter and Tendai monk, Kazuo Shiraga (1924–2008), who for years has been collected throughout Europe, even as he has been virtually ignored in the United States.
Robert C. Morgan
Robert C. Morgan is an internationally renowned art critic, curator,
artist, writer, art historian, poet, and lecturer. He holds an MFA in
Sculpture from the University of Massachusetts, Amherst (1975), and a
Ph.D. in contemporary art history and aesthetics from the School of
Education, New York University (1978). Dr. Morgan lives in New York,
where he lectures at the School of Visual Arts and Pratt Institute.
He is Professor Emeritus in Art History from the Rochester Institute of
Technology, and, since 2011, a member of the European Academy of
Sciences and Arts in Salzburg.
Posted inArt
Entang Wiharso Mines the Discord in Indonesia’s Diversity
In a recent interview, the Indonesian artist Entang Wiharso proclaimed: “I depict the condition of humans who are often divided by complex, multilayered political, ethnic, racial, and religious systems: they co-exist yet their communication is limited and indirect.”
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Monochrome Sets You Free
I discovered the work of Ha Chonghyun in 2000 at an exhibition mounted at the Gwangju City Art Museum, curated by the art critic Yoon Jin Sup.
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The Origins and Evolution of Group ZERO
There are undoubtedly many stories attributed to the founding of ZERO in post-World War II Germany, as there were with the inception of Dada during the earlier Great War that raged outside the Swiss borders from 1914–18.
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Tactile Sensations, Borrowed from Nature
“You have to get close, then move back, slowly,” I tried to explain to a motley group of graduate students whom I asked to see the recent paintings and drawings by Cornelia Thomsen at the uptown Leslie Feely gallery.
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Roman Opalka’s Numerical Destiny
In 1965, the French-born, Polish painter Roman Opalka came to an important decision. While sitting at the Café Bristol in Warsaw waiting for his wife to arrive, the idea occurred that he should begin to paint numbers that would progress sequentially from one canvas to the next for the duration of his life.
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Pierre Soulages: Painter of Black and Light
For many, Pierre Soulages was regarded as the Parisian counterpart to the abstract expressionists in New York. The only problem was that the French audience, in general, appeared less interested in his work than the Americans.
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Breaking the Ground Between Art and Architecture
In recent years, the connections between architecture, art, and design have, in many cases, become inextricably bound to another in a kind of symbiotic relationship. For some observers, architecture appears relevant to the twenty-first century only when it emulates an abstract sculptural presence.
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Putting the ‘No’ in ‘Nostalgia’
This show at James Fuentes, instigated by various artists associated with an exhibition in 1980 called The Real Estate Show, is a reconstruction of a spontaneous action that began in late 1979.
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Italian Futurism, or the Lessons of Art and Politics
The exhibition Italian Futurism, 1909–1944: Reconstructing the Universe, presently on view at the Guggenheim, is the first important museum survey of work from this seminal utopian Modernist movement seen in New York since Futurism at the Museum of Modern Art in 1961.
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Keith Sonnier’s Tactile Formulations in Neon and Glass
Relatively speaking, Keith Sonnier’s interest in the connections between nature and technology has a long history. His early minimal-style, classical neons from 1968–1970 have a highly reductive, classical, nearly stoic appearance. The more recent formulations, though extravagantly tactile, were less evident in the beginning.