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Displaying all articles tagged:
This Long-Running MoMA Show Might Restore Your Faith in Utopianism
Finding solace in Bodys Isek Kingelez.
What Was Delacroix Doing? A Relic of One Era, He Somehow Invented Many Others.
Somehow his infuriatingly messy paintings point directly to Cézanne, Manet, Renoir, van Gogh, Matisse, de Kooning, Marlene Dumas, and Kara Walker.
David Wojnarowicz’s Whitney Retrospective Is Overdue, But Couldn’t Be Timelier
This is an astonishingly relevant, urgently important show that reflects on what it means to be human in a time of encroaching political darkness.
Why Is the Met’s New Show About the Body in Art History So Stultifying and Dull?
This is what happens with an excess of hyperrealism.
3 Sentence Reviews of Marlene Dumas, Dan Colen, and 11 Other Art-World Big Shots
Let’s read the tea leaves on the upper end of the food chain.
Three-Sentence Reviews: John Bradford, David Hockney, and 11 More Shows
Including the new home of White Columns.
Losing Myself in the Paintings of Facebook-Educated Matthew Wong
An impressive painter’s debut show at Karma gallery.
Cy Twombly and the Transporting Power of Art That Barely Uses the Tools of Art
Scribbles, jots, smears, and smudges that make my knees buckle.
This Nobel Laureate in Medicine Belongs Next to Michelangelo As a Draftsman
Santiago Ramón y Cajal is the only Nobel Prize winner in history — in physiology and medicine in 1906 — to also be a truly great artist.
Antiguan Master Frank Walter Is a Revelation at ADAA
Walter never found the recognition he was looking for; he yearned to have his work seen and acknowledged in his lifetime.
Trump’s Border Wall Prototypes Are a Kind of National Monument to Nativism
When you look at the eight prototypes as art, what do you see?
Wherever the New
Is Heading, I’m Along for the Ride
In David Velasco, the magazine has a new editor, new energy, and new purpose. Thank God.
Michelangelo Exploded Art History, Just With His Drawing
The Metropolitan Museum’s new show
is a stupendous metaphysical-visual exhalation.
Radical in Content, Retrograde in Form: What Should We Make of ‘Trigger’?
I wish I didn’t feel as conflicted as I do about this show that surveys “gender beyond the binary.”
The Fearless Chris Ofili Enters His Own Personal Paradise Lost
The four paintings are hung behind a cage of cyclone fencing.
Three-Sentence Reviews: Peter Saul, Trevor Paglen, and 7 More
Thank God for Peter Saul.
Kara Walker’s New Show Is the Best Art Made About This Country in This Century
It’s extraordinary to see an artist responding so well to the incredible political storm blowing all around us.
Jerry Saltz: I Give In, MoMA. You’ve Won Me Over. (Halfway, Anyway.)
MoMA has been this broken spatial matrix since November 4, 2004, the day it reopened with great fanfare.
Looking for New Electricity in the Mostly Static Art World
It’s not a matter of art being becoming more political. But the more I look for signs of artistic vitality, the more frustrated I’ve become.
art and design 2017
Jerry Saltz Reviews Jerry Saltz: A Critic Looks at His Own Early Artwork
Before I became a critic, I was an artist, and in the early 1970s, I feverishly devoted myself to illustrating the entirety of Dante’s
Matthew Barney’s 1991 Show Is Better Today
At the Gladstone Gallery, you can go back 25 years and witness the event that completely shattered the art world.
Jerry Saltz on the New Whitney Museum
How the museum might just solve the impossible problem of contemporary art.
seeing out loud
Do Not Miss MoMA’s Overwhelming Henri Matisse Exhibition
Few artists reward prolonged scrutiny more than Matisse.
Saltz on the MoMA’s
Insiders will go gaga here. But I wonder whether larger audiences will grasp the way this kind of art thrust itself to the fore in the West.
Saltz: Is Glenn Beck’s ‘Obama in Pee-Pee’ Actually Art?
Yes, but it unintentionally reveals something about the artist.
Saltz: How I Came to Embrace Richard Artschwager’s Weirdness
How he finally won over our art critic.
Saltz: Picasso’s Monochrome Paintings Display a Rainbow of Emotion
Brilliantly conceived and installed by Carmen Giménez, the Guggenheim’s show zeroes in on Picasso’s use of black and white and gray.
The Munch that ate New York.