In the second volume of a definitive biography, the art critic Jed Perl recalls how the innovative artist revolutionized sculpture.
Artists, collectors, curators, and dealers are all needed for the system to function, but the role of critics is up for grabs.
Jed Perl makes the case that Calder was both an avant-gardist and a populist.
Painting reached a turning point with Paul Cézanne wherein a picture would no longer be conceived simply as a window onto the world with the artist at a remove from the act of creating.
LOS ANGELES — In 1988 Jed Perl, a critic in his mid-thirties who had written for Vogue, Art in America, and The New Criterion, published his first book: Paris Without End: On French Art Since World War I.
Jed Perl, a savvy polemicist far above fatuous windbag trolling, is mad as hell. Why? Because “Liberals Are Killing Art,” according to the headline accompanying the art critic’s latest for The New Republic.
As the American critic Jed Perl points out in his new book, Magicians & Charlatans: Essays on Art and Culture (Eakins Press Foundation, 2013), a collection of essays about subjects in the fields of Renaissance, modern and contemporary art, today the forces of “art as money” have vanquished those of “art as tradition.”
The Museum of Modern Art’s Abstract Expressionist New York: The Big Picture, an ambitious exhibition that (kinda) rethinks the standard narrative of Abstract Expressionism (aka AbEx), has been open since October 3. The show complicates things by reintroducing us to artists not entirely within the AbEx canon, putting old favorites in a new context and shining a spotlight on the people and places of AbEx.
The question is: did MoMA and its curators accomplish their goal? We turn to the internet at large for a look at how people have reacted to the exhibition!