Art
Jonathan Lasker’s approach to painting hasn't changed materially in decades, and so why would his work, which struck me as an alienating (if not irritating) closed system when I first started looking at it in the 1990s, now feel so open, urgent, and fresh?
Art
2015 was the Year of the Whitney.
Art
In the thoroughly absorbing exhibition Donald Baechler: Early Work 1980 to 1984 at Cheim & Read, there are two works, both from 1982, in which the artist appears to be unlearning how to draw.
Art
Frieze New York opens its doors to the public today, but already during yesterday's press and VIP preview the aisles were crowded, the common areas and restaurants filled with worn-out fairgoers, and it seemed as if the only empty seats were sculptures.
Art
It didn't. I lied. I'm sorry. But I did like these things at the Art Dealers Association of America's (ADAA) art fair.
Art
Is an exhibition ever too beautiful for its own good? Jenny Holzer’s new show at Cheim & Read, Dust Paintings, is ravishing. But the sensuality of these text-based abstractions, done in oil on linen in mostly muted colors, runs counter to their content, which is derived from declassified government
Art
There are currently two exhibitions of Joan Mitchell’s paintings and drawings on the same Chelsea street. Taken together, they offer an extended examination of a painter’s process as her sensibilities shift from a dominant mode expression to something altogether different.
Art
Pat Steir cut her teeth in the 1970s and went on to become part of the fabric of the New York art world. From her quasi-conceptual paintings of that decade to the Waterfall paintings of the late '80s, Steir has long been something of a ubiquitous presence — but, like many of her generation, she also
Art
Before there were the New Casualists, there were the Provisional Painters, and before there were the Provisional Painters, there were the 1980s.
Art
Years ago, Al Held invited me to his place in Boiceville, New York, to see two large paintings that he had all but completed. They were immense, brightly colored works in which geometric forms floated, weightless.