Exhibitions — Page 24

Françoise Gilot shares her memories of traveling with Picasso to meet Matisse. Gilot remarks: "What drew me to Matisse is his desire for finding the strongest and most simple way of expressing a form or character. And also in terms of... mounting the color to the extreme... The difference between Matisse and Picasso is Picasso

Vonn Sumner writes about the work of Wayne Thiebaud on the occasion of the exhibition Wayne Thiebaud: American Memories at the Laguna Art Museum, on view through June 1, 2014. Sumner observes: "The more traditional and honest Thiebaud tries to be, the more radical his work becomes. In this age of ever-shortening attention spans, he

Alex Heimbach reviews the exhibition Edward Hopper: Drawing at the Whitney Museum of Art, New York, on view through October 6, 2013. Citing a suite of preparatory drawings displayed with the painting Rooms for Tourists (1945), Heimbach writes that "curator Carter E. Foster has cleverly arranged the space to showcase how Hopper drafted his final

Thomas Micchelli reviews the exhibition Post-War Italian Art: Accardi, Dorazio, Fontana, Schifano at Sperone Westwater, New York, on view through May 4, 2013. Micchelli writes: "The works in this show have in common an enduring simplicity of means, a Classicism pliant enough to encompass minimalist analytics, anti-art stratagems and the headiness of Pop. The work

Andy Parkinson blogs about the exhibition New Possibilities: Abstract Paintings from the Seventies at The Piper Gallery, on view through December 21, 2012. Parkinson writes: "In the seventies abstract painting in Britain was in crisis. At least that’s how it seemed to some. If during the sixties it had become hegemonic that privileged position was

Heddy Abramowitz reviews the exhibition Frank Auerbach: Portraits on Paper at the Israel Museum, on view through August 25, 2012. Abramowitz writes: "As is typical of his paintings, [Auerbach's] drawings often show many layers of built-up re-workings until there is a dense mangle of lines, each mark thought through, erased and re-considered until he is

Painter Kim Sloane writes about the exhibition Ruth Miller: Recent Work at Lohin Geduld Gallery, New York, on view through November 12, 2011. Sloane writes that "The paintings display a mastery of color... and the ability to combine and structure pictures through both drawing and color... The elevation in Miller’s painting is achieved through this

Andrew Russeth blogs installation images from the exhibition Painting Expanded at Tanya Bonakdar Gallery. Painting Expanded "brings together work by 17 painters, most of them young and closely watched... curated by Renee Coppola, Phyllis Lally, Emily Ruotolo, and Scot Surdez."

Larry Groff blogs images from a "a rare show in Alba, Italy of Giorgio Morandi's Landscapes where some 70 landscape paintings were shown." In addition to the landscape paintings, Groff also includes an interesting image of Morandi's view finder. Giorgio Morandi: The Essence of Landscape, curated by Maria Cristina Bandera was on view at the

Andrew Russeth visits the exhibition Alchemy and Inquiry: paintings by Philip Taaffe, Fred Tomaselli, and Terry Winters at Wave Hill Estate in the Bronx. Russeth writes: "With each artist featured in a separate room, it's easy to see their three distinct visions clearly. My favorite in the tripartite melee is Taaffe, whose paintings are populated

The Prado, home to so many masterpieces now houses one more "The Wine of St. Martin's Day" by Pieter Bruegel the Elder. The painting has been in the Prado's collection but was recently re-attributed. The New York Times has a nice interactive feature where you can mouse over the painting to zoom in for a