The New Yorker
Emily Mason: Tone Control
The New Yorker
Jackson Arn reviews Emily Mason: The Thunder Hurried Slow at Miles McEnery Gallery, New York. Arn observes: “Working your way from the left to the right side of the small, square ‘Like Some Old Fashioned Miracle’ (1972-74), you first find bright yellow and blue cheek to cheek with hunter green, simple as two plus three […]
Ninth Street Women
The New Yorker
Claudia Roth Pierpont reviews Mary Gabriel’s new book Ninth Street Women: Lee Krasner, Elaine de Kooning, Grace Hartigan, Joan Mitchell, and Helen Frankenthaler: Five Painters and the Movement That Changed Modern Art (Little, Brown and Company). Roth Pierpont writes: “Mary Gabriel’s timely and ambitious new book, “Ninth Street Women,” provides a multifaceted account of the […]
The Radical Paintings of Laura Owens
The New Yorker
Peter Schjeldahl writes about the work of Laura Owens. A mid-career retrospective of Owens’ work will be on view at the Whitney Museum of American Art, New York from November 10, 2017 – February 4, 2018. Schjeldahl concludes: “[Owens] is a genius of revelations, along the lines of that premise. She revealed twenty years ago, and […]
Lynette Yiadom-Boakye’s Imaginary Portraits
The New Yorker
Zadie Smith profiles painter Lynette Yiadom-Boakye, whose exhibition Under-Song For A Cipher is on view at the New Museum, New York through September 3, 2017. Smith writes: “Yiadom-Boakye’s people push themselves forward, into the imagination—as literary characters do—surely, in part, because these are not really portraits. They have no models, no sitters. They are character […]
Frédéric Bazille & the Birth of Impressionism
The New Yorker
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. […]
Alexei Jawlensky & Vija Celmins
The New Yorker
Peter Schjeldahl reviews Alexei Jawlensky at the Neue Galerie, New York (through May 29) and Vija Celmins at Matthew Marks, New York (through April 15). Schjeldahl writes: “… The [Jawlensky] show ends with the kicker of a room of small, even tiny, paintings, unfamiliar to me, of an abstracted face. A black stripe serves for […]
Fast Forward: Painting from the 1980s
The New Yorker
Peter Schjeldahl reviews Fast Forward: Painting from the 1980s at the Whitney Museum of American Art, New York, on view through May 14, 2017. “Starting in the late nineteen-seventies, young American artists plunged, pell-mell, into making figurative paintings. That seemed ridiculously backward by the lights of the time’s reigning vanguards of flinty post-minimalism, cagey conceptualism, […]