An ingenious arrangement can engender awareness of spatial relationships, provide a much-needed sense of order, or offer purely aesthetic mysteries.
Sun Ra’s stanzas are riddles against passive reading.
Whoever thought that Carl Andre’s joyless, hug-the-floor sculpture was the logical culmination of Brancusi got it wrong. This kind of thinking strikes me as macho, competitive, and prescriptive.
I heard Rebecca Morris speak earlier this year in Chicago, and was struck by how she discussed becoming an abstractionist at a time when both abstraction and painting were under attack.
CHICAGO — Greetings, Margot Bergman’s fourth solo exhibition at Corbett vs. Dempsey, feels like a gesture to the gesture in its titular painting.
Initially I was skeptical, but Philip Hanson’s three paintings on the fourth floor of the Whitney Biennial got me to look and think again. The twelve paintings in his exhibition, I am a child of the Light, student of the Dark, at Corbett vs. Dempsey (March 21–April 19, 2014) convinced me.