“I was genuinely and pleasantly surprised to find innovative contemporary works among the typical somberly scholastic approach at this year’s edition of Master Drawings New York.”
Artists Who Unlocked the Modernist Grid
A gallery show that turns the form of the grid inside out, shedding more light on this iconic 20th-century favorite.
America’s Grand Gestures Reign Supreme Again in Basel
BASEL, Switzerland — Fifty-five years ago, the exhibition The New American Painting arrived at the Kunsthalle Basel. It was the first stop on a yearlong tour that touted the work of seventeen Abstract Expressionists before eight European countries — the first comprehensive exhibition to be sent to Europe showing the advanced tendencies in American painting. All but five of the original artists from the show had work on view at last weekend’s Art Basel, where postwar American painting and sculpture dominated the halls.
This week, Christian Marclay’s unoriginal(?) “The Clock,” art in post-revolution Egypt, power of Renaissance portraiture, GIF trends, Gagosian troubles, Adolph Gottlieb’s words in 1966 and more.
The Overlooked Prints of the Abstract Expressionists
Tomorrow, Swann auction house will be presenting a sale, “Atelier 17, Abstract Expressionism & the New York School,” which showcases the prints of the Abstract Expressionist era that are often overlooked because the larger, flashier paintings inevitably grab the spotlight. The sale has a particular emphasis on the co-operative printmaking workshop Atelier 17, which was started in the Paris studio of English painter and draughtsman Stanley William Hayter in 1927. When World War II began, Hayter fled Paris for London and eventually settled in New York after a very short stay in California during the 1940s. The first New York incarnation of Atelier 17 popped up at the New School of Social Research but eventually the studio found a home at 41 East 8th Street in the heart of artistic Greenwich Village. Jackson Pollock lived across the street.
The Fashionable Wallpaper of Retna
Last night’s opening of art by the LA graffiti artist Retna was more of a fashion event than an art show. Bizarrely titled The Hallelujah World Tour, the artist’s all-over calligraphic style was ill served by poor curatorial decisions like a dense hanging that reduced the lines to visual wallpaper for a posing group filled with mad-hatter-wannabes and fashionistas.