The work of Clark should remind us of all the interesting things going on in painting in the 1970s, even if few people were looking.
For Mangold, more than any other artist of his generation, painting is contingent, rather than self-sufficient. It is part of an active relationship.
Yesterday, Donald Trump named his campaign finance chief: Steven Mnuchin, hedge-fund executive, controversial film financier, and son of art dealer Robert Mnuchin, whose Upper East Side gallery is currently showing a David Hammons retrospective.
Many writers – including, most recently, Peter Schjeldahl in the venerable magazine, The New Yorker – have characterized David Hammons as “elusive” and “difficult.” According to Schjeldahl: “The artist spoke with me, bracingly and delightfully, for a column in this magazine, in 2002. He wouldn’t do so again.”
Much attention is being focused on the paintings of the late Japanese Gutai painter and Tendai monk, Kazuo Shiraga (1924–2008), who for years has been collected throughout Europe, even as he has been virtually ignored in the United States.