Art
One of the reasons Hyde’s book is so loved, and why the Hopper exhibition is so relentlessly moving, is because they give cause for celebration; for honoring those protracted dialogues with our inner muses, when they are both abundant, generous and nourishing, and when they are truculent, belligeren
Art
When Robert Irwin abandoned his Venice beach studio in 1970 he did not know where he would go next.
Art
My family took a lot of trips when I was young, and often we didn’t arrive at our destination until long into the evening. I still recall the disorientation of awaking somewhere with no idea how we’d gotten there — the hotel felt unmoored from reality, as though we’d travelled to an entirely differe
Art
We’ve all heard the tales, dripping in posthumously-applied glamour, of New York City in the 1920s. These stories are usually set in smoky speakeasies with women donning flapper dresses and short bobs, saxophones smoothly slithering along a bar full of bootlegged liquor and men in fedoras and suits.
Art
PARIS — "What should a museum look like, a museum in Manhattan?" architect Marcel Breuer asked in explaining his design for the Whitney Museum of American Art. "Surely it should work, it should fulfill its requirements, but what is its relationship to the New York landscape? What does it express, wh
Opinion
The Whitney Museum is going back to basics, or at least that's what you might think with their new brand identity redesign that was unveiled today. Created by Amsterdam-based Experimental Jetset, the new logo is an acute replacement to the rectilinear typeface rolled out 13 years ago and designed by
Art
Years ago, Al Held invited me to his place in Boiceville, New York, to see two large paintings that he had all but completed. They were immense, brightly colored works in which geometric forms floated, weightless.
Art
“In my beginning is my end.” The first line of T. S. Eliot’s poem “East Coker” — the second of his Four Quartets — came unexpectedly to mind when I returned for a last look at Richard Artschwager’s The Desert, a selection of pastels along with two paintings, at David Nolan Gallery. Artschwager’s mis
Art
Last week the Whitney Museum announced its plan for the 2014 Biennial, which entrusts three curators with organizing the exhibition, but not as collaborators. Rather, each individual will be responsible for a single floor of the museum, dividing it, as chief curator Donna De Salvo told The New York
Interview
CHICAGO — The 2014 Whitney Biennial won’t be like every biennial before it. The always anticipated art world event will partly be a response to the Occupy movement’s call to end the Whitney Biennial, which charged that the major exhibition was just another art world commercial interest, and it will
Art
Maybe the Whitney Museum’s exhibition Sinister Pop should be titled Discarding Pop. And by that I mean Pop as a label that implies a common mindset rather than a common set of tools.
News
In the New York Times, Carol Vogel reports on the future of the Whitney Biennial, that ever-controversial summary of American art. For the 2014 edition of the show, there are a few new surprises — mainly, that the old, monolithic model of curating has been totally dismantled.