And I like John Knight!ĭan Christensen - Calligraphic Stains & Scrapes (Paintings from 1977 to 1984) - Berry Campbell - **.5 I don't think I could take it if someone was seriously trying to convince me that putting lights on the floor is a scathing critique. that this only works because it's clever. In the cold, harsh light of the illiterate and postconceptual 2020s I think we can now safely say that John Knight's practice perseveres mainly by the force of humor, i.e. John Knight - A work in situ - Greene Naftali - *** In spite of the inconsistency of quality, this range of styles ultimately helps the exhibition because the contrasts add substance to the whole where a show of just a single series might have been a bit thin. Cleanness and austerity seem to be qualities at odds with her natural proclivities, so these experiments in Mondrianism strike me as a misstep evidently Krasner felt the same since she destroyed most of the series. The procedural layering of grid areas seems to be intended to create a panting-in-painting effect, but without a totalizing formal rigor they end up slightly arbitrary and less resolved in comparison to her usual chaotic density. The earlier paintings from her "Little Image" series are also materially engaging through the thick layers of paint in the background grids contrasted with the thin, decorative hieroglyphics of the top layer, but I'm less receptive to the more actively geometric works because they feel stiff and a little forced. Only two paintings in the right-hand corner are in her signature mode, and, of the two, Promenade is one of the show's better paintings thanks to its subtle employment of bright colors that peek out from behind the foreground's white forms and its rich surface texture. I tend to think of Krasner as being too doggedly consistent with her jagged shapes, but here there's so much variation that it feels a bit scattered, like she's grasping for a form to work with. Lee Krasner - The Edge of Color, Geometric Abstractions 1948-53 - Kasmin - ***.5 I do not like the Jimmy Ernst, and I didn't much like Lynne Drexler to start with but now I'm actively sick of watching her paintings get passed around between various Chelsea galleries. The Passlof is good, as are the nice Zacharias, and the Freilicher is decent but a bit out of place for being the most conventionally rendered. Fairfield Porter's The Plane Tree is almost embarrassingly dominant in this company, as if the rest of the show serves to orbit around it, which the curators seem aware of judging from the way the show is being advertised. Mary Abbott, Nell Blaine, Lynne Drexler, Jimmy Ernst, Sam Francis, Jane Freilicher, Grace Hartigan, Elaine de Kooning, Emily Mason, Robert Motherwell, Pat Passlof, Fairfield Porter, Hedda Sterne, Anthe Zacharias - Tide Pool - Kasmin - ***Ī fair smattering of abstract-ish nature painting and natural-ish abstract painting, which comes to the usual end result of a fair smattering of good, decent, and some bad paintings. The Manhattan Art Comic by Andrew Newell Walther TMAR Worldwide, The Introductory Reviews by Troy Sherman, Simon Smith, Quin Land, and Scott NewmanĪmalia Ulman's El Planeta by Almog Cohen-Kashi Look Again: European Paintings 1300-1800 The Metropolitan Museum of Art by Troy Sherman Vertigo of Color: Matisse, Derain, and the Origins of Fauvism The Metropolitan Museum of Art by Scott Newman Theodor Adorno - Aesthetic Theory - *****Īndrea Fraser: Collected Interviews 1990-2018 1Įmily Segal - Mercury Retrograde (The Question of Coolness) Gerhard Richter Marian Goodman & Lise Soskolne Svetlana, Park McArthur Essex Street, The Cleaners of Mars Reena Spaulings - Addendum: Notes on Psychedelic ArtĬoncerning Superfluities Essex Street vs. Isa Genzken Galerie Buchholz, Art Club2000 Artists Space, Jef Geys Essex Street In Search of the Worst Painting on the Lower East Side The Manhattan Art Christmas Movie Review Special: Notes on Eyes Wide Shut Paul McCarthy and the Negative Sublime, Paul McCarthy Hauser & Wirth The Aesthetics of the Refusal of Aesthetics, Sara Deraedt Essex Street (2016) The Rules of Appropriation Liz Magor, For Example, Liz Magor Andrew Kreps The Manhattan Art Review's Best & Worst Art Shows of 2021Ī Response to Eric Schmid's Press Release for Henry Fool Triest Why Does The Whitney Biennial Suck So Much? The Painter's New Tools Nahmad Contemporary, Manhattan Claude Balls Int The Manhattan Art Review's Best & Worst Art Shows of 2022 It's Pablo-Matic: Picasso According to Hannah Gadsby Brooklyn Museum The Manhattan Art Review's Best & Worst Art Shows of 2023
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