Link posts — Page 15

David Carrier reviews Harvey Quaytman: Hone at Van Doren Waxter, New York, on view through April 28, 2017. Carrier writes: "In the 1980s when I met him, I got to know a great many abstract painters. Harvey was the happiest artist I had the pleasure of meeting. I think, even if you never met him,

Becky Huff Hunter reviews Quicktime at the Rosenwald-Wolf Gallery, University of the Arts, Philadelphia, on view through April 22, 2017. The show features works by Marina Adams, Amy Feldman, Ann Craven, Melissa Meyer, and Patricia Treib. Hunter writes: "In the show, twelve recent, mostly large-scale, conventionally stretched works share fast-looking brush strokes; few visible layers

Raphael Rubinstein reviews Painting Paintings (David Reed) 1975 on view through May 21, 2017 at 356 S. Mission Rd, Los Angeles, California (previously on view at the Rose Art Museum at Brandeis University and Gagosian Gallery, New York). Rubinstein writes: "I came out of 'Painting Paintings (David Reed) 1975' at Gagosian, where I saw this

Laura Gascoigne reviews Camille Pissarro: The First of the Impressionists at the Musée Marmottan Monet, Paris, until July 2, 2017. Gascoigne begins: "If asked to name the key figure in Impressionism, few people today would nominate Camille Pissarro... Yet to his contemporaries this quiet revolutionary was the unifying force behind the movement that he had

Peter Schjeldahl reviews Frédéric Bazille and the Birth of Impressionism at the National Gallery, Washington, D.C., on view through July 9, 2017. Schjeldahl writes: "What makes the show great is the point of view that it affords not only on the birth of Impressionism but also on the general dawning of modernist sentiments and sensibilities.

Jenny Uglow reviews Howard Hodgkin: Absent Friends at the National Portrait Gallery, London, on view through June 18, 2017. Uglow writes: "It always feels wrong to scatter words around Howard Hodgkin’s paintings. Their tactile richness should just burn into eyes and minds, leaving a trace behind the eyelids, a memory to which we can return.

Tim Gentles reviews Sputterances organized by Sanya Kantarovsky, at Metro Pictures, New York, on view through April 22, 2017. Gentles writes: "It’s not immediately clear what unites these artists, much less around [René] Daniëls—few, if any, have had a direct relationship with the artist, but all seem to share with Daniëls (and, it should be

Jonathan Goodman reviews a recent exhibition of works by Sandro Chia at Marc Straus Gallery, New York. Goodman writes: "It is hard to read Chia’s inclination for forthright feeling in an environment like ours—dominated by the market and mostly biased against a recognizable awareness of art history. In contrast, in a painting such as Looking

Randee Silv explores the influence of Alice Neel's politics on her work on the occasion of the exhibition Alice Neel, Uptown, curated by Hilton Als, at David Zwirner Gallery, New York, on view through April 22, 2017. Silv begins: "I immediately found myself in a crossfire of conversations. Ricocheting. Intimate. Political. Some might’ve known each

Part two in a three-part photoblog series (also view part one and part three) of works, recently on view in New York. The posts "emphasize the range of art made with unusual materials, or of conventional materials used in service to an unlikely end..."

Emily Spicer interviews painter Caroline Walker. Walker comments: "My work definitely engages with that history of painting women, which has largely cast the male artist as the portrayer of the female realm. I suppose I’m revisiting that, but through a female gaze. And I’m interested in whether the knowledge that something has been painted by

Gwenaël Kerlidou considers the work of Roger Bissière. Kerlidou writes: "With [Bissière's] disappearance, a whole chapter of Modernism, one that we could call the 'Primitive Paradigm,' came to a close. The end of the primitive model in Modern art also signaled the emergence of what would later be called the Postmodern. While, in the typical

An excerpt from Nicholas Fox Weber's preface for the catalog of One and One Is Four: The Bauhaus Photocollages of Josef Albers, on view at the Museum of Modern Art through April 2, 2017. Weber writes: "Josef assembled these photo-collages in the years when he was also constructing furniture, sandblasting glass, and teaching the nature

Emyr Williams reviews Alan Gouk: New Abstract Colour Paintings at the Hampstead School of Art, London, on view through May 12, 2017. Williams writes: "Greens drag through yellows and vice-versa, creating limes, reds through purples and purples through magentas. Blue is often bonded with white, and white is used to kick areas into a bristling

Jennifer Samet interviews painter Albert Oehlen on the occasion of his exhibition Elevator Paintings: Trees at Gagosian Gallery, New York, on view through April 15, 2017. Oehlen comments: "I decided to make painting, but I wasn’t coming from painting in the sense of needing to hold a brush and smear paint. Rather, it was a

Gijs van Hensbergen considers a panoply of sources and influences on Picasso's Guernica (1937) on the occasion of the exhibition Pity and Terror: Picasso’s Path to Guernica at Museo Nacional Centro de Arte Reina Sofía, Madrid, on view through September 4, 2017. Hensbergen writes: "Picasso’s magpie instinct and voracious visual memory is legendary but there

Jill Spalding reviews Marsden Hartley’s Maine at The Met Breuer, New York, on view through June 18, 2017. Spalding writes: "A curatorial triumph for how convincingly Hartley’s meditations on Maine present as defining his modernist vision, the show serves as successfully to broaden our understanding of modernism. These burning canvases are not a style, they

Stace Brandt reviews Dana Clancy: Sightlines at Alpha Gallery, Boston. Brandt writes: "What resonates most about Sightlines is Clancy’s democratic treatment of the surface: she examines and activates every square inch of the picture plane. To isolate a fragment of one of Clancy’s painting is to reveal a series of tiny, abstract, symbiotic worlds. "

Peter Malone reviews Alice Neel, Uptown, curated by Hilton Als, at David Zwirner Gallery, New York, on view through April 22, 2017. Malone writes: "One of the gems in the show is a canvas titled, Two Puerto Rican Boys, 1956. It depicts a pair of kids looking up at the painter while sharing a chair

John Yau reviews Anoka Faruqee: Rainbows and Bruises at Koenig & Clinton , New York, on view through April 8, 2017. Yau concludes: "By opening up the geometric while maintaining a painstaking approach, Faruqee seems to have entered new, uncharted territory. While the Moireseries recalls the history of weaving and decorative fabrics, the white Circlepaintings