The creation and interpretation of art remains an anchor and a refuge, a sanctuary for vanishing ideals.
Revisiting a painting show that “changed the art world, for better or worse.”
The exhibitions that rippled through our cultural fabric over the past year, at least those occurring in and around New York, have registered the predictable number of highs and lows, though 2014 did manage to plumb one nadir unlikely to be matched for a good long time.
Let’s face it: there’s Brooklyn, and then there’s the rest of New York City. (Sorry, rest of New York City!)
In this century, the Museum of Modern Art has presented a series of exhibitions of women artists from other countries: Lygia Clark, Isa Genzken, Alina Szapocznikow, Sanja Ivekovic, Marina Abramovic, Marlene Dumas, Pipilotti Rist, Lucy McKenzie. But very often, the accompanying texts place them in an artistic context comprised solely of their husbands, boyfriends and guy colleagues — as if their acclaim had separated them from their female peers.
Maria Lassnig’s retrospective at MoMA PS1 is the largest survey of her work ever mounted in the United States. It reveals an idiosyncratic artist whose quirks and caprices, especially in her later work, can feel willful, even perverse — up to a point.
Currently at Team Gallery’s two venues, on Grand Street and Wooster Street in Soho, there is an exhibition simply titled Black Cake. Curated by Alex Gartenfeld, it includes only two artists from Team’s roster (Massimo Grimaldi and Ryan McGinley) out of sixteen participants, which puts it outside the typical reshuffling of the deck we so often see in January group shows.