Although Dine is considered a blue-chip artist (a rather ugly term, if you ask me), the New York art world has not been kind to him.
There’s something confident about this old-school European fair — the exhibitors let the game come to them.
In a 1483 German Bible, the Garden of Eden is depicted as a corralled green circle; Adam and Even are ejected from its manicured grass to a hilly wilderness, with a trail leading off into the unknown. This idealized interpretation of original sin sits alongside more modern takes on our relationship with our environment in the Museum of Biblical Art’s Back to Eden: Contemporary Artists Wander the Garden.
Before the frustration and jadedness come, before galleries and museums and auction houses, before art history exams and conceptual art and identity politics, there is the simple joy of making art.
There may be some great-looking specimens of postwar art in Re-View: Onnasch Collection — an exhibition that turns Hauser & Wirth’s cavernous Chelsea outpost into a mini-museum offering the kind of intimate experiences that have been all but lost in New York’s uptown behemoths — but the show also arrives with some huge caveats.