Questions of privilege aside, the range of abstract works reminded me how artists are providing nuanced ways of thinking about identity that move beyond exclusion/inclusion binaries.
Cy Twombly
Posted inBooks
A Poet’s Heartfelt Biography of Cy Twombly
Joshua Rivkin, a poet himself, passionately admires Twombly’s art and feels compelled to understand the man who made it.
Posted inArt
The Met’s Wrong Turn on Revisionism
When an exhibition is as puzzling as this one, it’s useful to step aside and reflect.
Posted inArt
A Dozen Memorable Exhibitions from 2018
Just because most museums in America are still asleep at the wheel, it doesn’t mean all is lost.
Posted inArt
Cy Twombly’s Extravagant Synesthesia
Rosalind Krauss misreads Twombly in more ways than I can enumerate.
Posted inArt
Two Cy Twombly Exhibitions Marry Myth and Sensual Abstraction
By a playful amalgam of semiotics with scatology, Twombly redevised history painting into palimpsest poop.
Posted inBooks
How Cy Twombly Spliced Poetry into His Art
In Reading Cy Twombly: Poetry in Paint, Mary Jacobus offers a fresh and intricate study of Twombly’s citations and overall engagement with verse.
Posted inArt
Pop Irony’s Enduring Influence in the Art Institute of Chicago’s New Contemporary Collection
CHICAGO — The Modern Wing of the Art Institute of Chicago, which opened in 2009, has reinstated its contemporary collection after giving over most of the space in 2015 to a much-lauded retrospective of the American sculptor Charles Ray.
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The Triumph of Revisionism: The Whitney’s American Century
With America Is Hard to See, the exhibition inaugurating its luminous new Renzo Piano building, the Whitney has reclaimed its role among the city’s museums as the engine of the new.
Posted inNews
Crimes of the Art
On this week’s art crime blotter: thieves take Taco Bell painting, vandals critique Kant, and a man mistaken for Banksy sues six NYPD officers.
Posted inArt
Cy Twombly’s Remarkable Treatise
A drawing/collage that Cy Twombly made on May 27, 1970, includes three disparate objects: a reproduction of his large, multi-panel painting, “Treatise on the Veil” (1968); a sheet of paper whose dimensions echoed the reproduction, with vertical creases made by folding; and another sheet containing his handwritten signature and the phrase “Study for Veil,” along with the stamped date and the number 3 written inside a stamp containing the artist’s name.
