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The venerable old societies, like the British Artists and the Old Water-Color and the Institute, continue unperturbed in their venerable old ways, opening shows as like as could be to those they have been opening throughout the long, peaceful years of their existence, suggesting no comment or criticism that has not been made a hundred times before. Artist Roger Fry has chosen this moment to break out with an exhibition of fifty-three exercises in Abstract and other Design, some built up about bus tickets and bits of marbled paper with the diligence, but hardly the spontaneity, of the child who has just received his first present of a toy paint-box.

Reviews the exhibition "Cy Twombly: 50 Years of Works on Paper," at the Whitney Museum of American Art through May 8, 2005.

This article presents the author's views regarding the extensive retrospective exhibition of the work of Robert Morris at the Guggenheim Museum, uptown and downtown, have titled the exhibition "The Mind/Body Problem," probably because a certain number of Morris's works are animated by the old philosophical conundrum. A work of visual art-paint and canvas, ink and paper, metal or stone-yields nothing in point of grossness to the fleshy matter of which the arm is framed. So when one tries to perform a Wittgensteinian subtraction and ask what remains of the work of art when one take away its "body" viz., whatever has weight and takes up space and is subject to chemical action. One answer might be, nothing.

Reviews the art exhibition 'The Natural Paradise: Painting in America 1800-1950' featuring the works of Jackson Pollock, Clyfford Still, Barnett Newman and Mark Rothko.

The article discusses performing arts. The recent exhibition of pure water colors and of drawings current at the art museum reveals two very successful transplantations: those of a young artist and an artistic movement. The successfully transplanted young artist is Georges Schreiber, the well-known contributor to New York periodicals and news- papers. The successfully transplanted artistic movement is the New Objectivism of such leading German moderns as Otto Dix and George Grosz. In the general spirit of the movement, Schreiber has taken as his subject life in the raw.

The article reviews the traveling sculpture exhibition “Ai Weiwei: According to What?” which will be at the Pérez Art Museum in Miami, Florida from December 4, 2013 to March 16, 2014 and then open at the Brooklyn Museum in New York City on April 18.

The article reviews the exhibition "Inventing Abstraction" with works by Marcel Duchamp at the Museum of Modern Art in New York City as of March 2013, “Fragments 1968-2012,” with works by Giorgio Griffa at the Casey Kaplan Gallery in New York City, and an exhibition of paintings by Thomas Nozkowski at the Pace Gallery in New York City through March 23, 2013.

The article reviews the exhibition "Retro/Active" at El Museo del Barrio museum in New York City (NYC).

The article reviews an exhibition featuring the works of German visual artist Gerhard Richter at the Marian Goodman Gallery in New York City.

This article reviews the museum exhibition "Dan Graham: Beyond" at the Whitney Museum at the Museum of Contemporary Art in Los Angeles, California through October 11, 2009 and at the Walker Art Center in Minneapolis, Minnesota from October 31 through January 31, 2009.

The article presents an evaluation of the works of the artist Kara Walker.

The article reviews an art exhibition, by photographer Jeff Wall, being held at the Museum of Modern Art in New York City during 2007.

The article reviews the exhibition "Egon Schiele: The Ronald S. Lauder and Serge Sabarsky Collections," at the Neue Galerie in New York City.

The article interprets the symbol of death in the creations of Damein Hirst, the celebrated hooligan genius of British Art. Hirst uses death as a way of expressing thoughts about death. His most celebrated work, according to a press release, has never shied away from the terrible beauty that lies in death and the inevitable decay contained in beauty. The theme of death, at least as expressed through animals and animal parts, is muted in "Theories, Models, Methods, Approaches, Assumptions, Results, and Find," as Hirst has titled the Gagosian show.

The article presents the author's comments on the painting by Joan Mitchell, which is on view at the Museum of Modern Art in the exhibition "American Art: 1940-1970." Mitchell was one of the strongest painters in the second generation of abstract expressionists, and she painted "Ladybug," as it is titled, in 1957, the year after abstract painter Jackson Pollock was killed. The author says that the internal drama of Mitchell's painting derives from the way she uses paint's propensity to drip to her own advantage by taming it with over-strokes of pigment through which she displays her own discipline and power.

Highlights the exhibition 'Artists' Books and Notations,' in New York City. Definition of the tendencies in art; Verbal accounts of the motives and intentions of art; Demonstration of the imagery of cultures.

Reports that a group of Philadelphia, Pennsylvania institutions has projected a series of art exhibitions, workshops, film programs, lectures and panels under the title of "Focus," with the theme of all this activity being women's art. Exhibitions marking the commencement of the project; Reception of the project among local women artists; Act of censorship raised in the project; Criticism of the work of artist Judith Bernstein.

This article presents the author's brief account of his visit to the exhibition of Robert Mapplethorpe's photographs at the Institute of Contemporary Art in Boston. The controversy that has dogged the show since its organization by the Institute of Contemporary Art in Philadelphia certainly made itself felt in the huge numbers of visitors and in the aura of decorous excitement that enveloped those who managed to get in. Most of the pictures, however, were unexciting. With the exception of a handful of striking images from the artist's last years, there were celebrity portraits shot in 1940s fashion style, arty flowers, naked black men in a venerable art-nude tradition.

The work of Tim Rollins and K.O.S.--a name initially as mystifying as that of many rock groups--came from the striking cover of the periodical "Artforum," for May 1988. The image on the cover was of work very little like anything, the author was aware existed in the art world of that moment; and indeed, it was unclear from the image alone whether it was contemporary at all, since it was composed of what appeared to be trumpets, keys and crosses, all in gold against a whitish background, and looked, at first glance, as if it might be a marvelous illumination. There were twelve columns of such pages, each column eight pages high, and one might have computed the size of the trumpets and other forms from this, and even have inferred, from this curious use of printed pages, that the work must be fairly recent. The exuberant yet elegant work of Tim Rollins and K.O.S. asks its audience to go beyond questions of formalist eloquence to arrive at a larger definition of what constitutes effective activist art-making. May 1988 was an important issue to the editors of "Artforum," for it marked the twentieth anniversary of the student uprisings in Europe and the United States in which many of them had participated.

Modernism, in art as in sexuality, was the patriotism of a fragile band of aesthetic expatriates in the America of the 1920's, centered, in New York, around Stieglitz's gallery and, in Philadelphia, around the Arensbergs, in whose collection "Princesse X," in one of its versions, it is to be found, and at the Barnes Foundation, which contains several of Demuth's paintings. An exhibition will be housed at the Los Angeles County Museum of Art from February 25 to April 24; at the Columbus Museum of Art, Columbus, Ohio, from May 8 until July 10; and at the San Francisco Museum of Modern Art from August 7 until October 2.

The article focuses on recent developments in the field of art. Sudden glory is made objective and palpable in the assembled work of Red Grooms, and it is this quality to which one immediately responds as the elevator opens onto the fourth floor of the Whitney Museum of American Art, given over entirely to this artist's singular clownerie. The art of the clown differs from that of the caricaturist, in that the latter seizes on certain defects, and uses them in order to lower the subject through ridicule.

This article presents the author's views on the works of artist Jennifer Bartlett. The author visited the immense retrospective exhibition of the work of Jennifer Bartlett at the Brooklyn Museum. One of his work is celebrated Rhapsody which consists of nearly a thousand enameled plates, each one foot square, regimented with one exception to form a grid seven squares high, in rows 141 squares long. The modules are separated from one another by one precise inch. Each module is overlaid with a silver grid silk-screened on, reminiscent of that system of squares art academic artist will impose on a drawing to facilitate transfer to the larger surface on which the final work is to be executed.

Gottlob Frege, the father of modern logic, once proposed that a word has meaning only in the context of a sentence. It is reckless, perhaps, to press as an analogy to this deep thought that a work of art has meaning only in the context of an exhibition. Everyone will allow that the circumstances of display often vest a work with qualities it does not possess in its own right: when a museum exhibits a painting in a room by itself, with velvet barrier and guards, something is being said about rarity, importance and value that the painting scarcely could say about itself. According to the author of this article, each critical or art-historical article implies an exhibition in what art historian Andre Malraux has termed the imaginary museum. To understand a painting, then, is to know what other works it would go with to form a coherent show.

There is a curious drawing by Francesco Guardi in the exhibition "Around Tiepolo: Eighteenth-Century Venetian Drawings at the Pierpont Morgan Library. Guardi has filled a piazza in Venice, Italy with his characteristic squiggly figures, wearing cloaks and tricorn hats, which the artist like a film director, uses as witnesses to whatever events he records. The event here is given in the title "Ascent of a Balloon in Venice, and the wall text gives the exact date of ascension, April 15, 1784, as well as the balloonist's name and that of his backer.

A tendency dominant in painting since cubism is that which, by means of abstraction, collage, construction and the use of extraneous elements such as paper, cloth, sand, cement, wood, string, metal and so forth, tries almost literally to disembowel the painting. Its pictorial content no less than the physical fact of the canvas itself is to enter the actual presence of the spectator on the same terms and as completely, as do the walls, the furniture and people. What takes place within the borders of the picture has the same immediate status as the borders themselves.

The article reviews the art exhibitions "Degas' Method" at the Ny Carlsberg Glyptotek gallery in Copenhagen, Denmark of artist Edgar Degas curated by Line Clausen Pedersen through September 1, 2013, and an exhibit of Welsh painter Merlin James at Parasol unit in London, England through August 10.

Reviews are presented of New York City art exhibitions, focusing on 1965 exhibitions such as an exhibition of the artist Reginald Marsh at the Gallery of Modern Art, an exhibition of Israeli art at the Jewish Museum, and an exhibition of shaped canvas art at the Guggenheim Museum.

This article reports on the fortieth annual exhibition of the National Academy of Design, New York City, New York. This exhibition is stronger in landscape painting than in any other department of art. George B. Wood's little picture "Clearing off Cold," is an instance minute incident on large canvass. Two years ago Wood exhibited a small painting of Mulleins, and these two pictures are all people know of his work. Charles H. Moore's "Study in the Catskill Valley," is a representation on a very small scale of a very wide range of country. The spectator stands on a slightly rising ground, and looks across perhaps ten miles of low-lying country to the Catskill Mountains beyond.

As a permanent memorial of the exhibition of painter Joaquin Sorolla, the Hispanic Society has reprinted eight of the chief appreciations of this conquering painter of sun light, adding also the tributes of the press, and what is more welcome a complete catalogue of the show illustrated by 350 halftone cuts. One may agree with everything that is said about Sorolla's athleticism of the brush, and ready command of the primary colors. One may accept his gusto without cavil, and yet question whether the zeal that took nearly 160,000 people to see his pictures had much to do with the more permanent qualities of art.

This article presents developments in the field of art, as of February 4, 1909. At the International's art exhibition, the work of British exhibitors hardly makes up for the absence or the indifference, of so many foreign artists. George Sauter, who is a German but he lives in London and is associated rather with the British group. Of this group, not one other shows so interesting and personal a painting as his large resurrection. In another development, a legislative bill is pending in the U.S. Congress to appropriate $20,000 for the purchase of a portrait of Abraham Lincoln, to be hung in the Capital.

The article reviews the 2013 exhibition "Blues for Smoke" at the Whitney Museum of American Art in New York City, which featured works including the installation "Chasing the Blue Train" by David Hammons, the sculpture "Martin, Into the Corner, You Should Be Ashamed of Yourself" by Martin Kippenberger, and the painting "Late Night Reflections" by Alma Thomas.

The article reviews the art exhibition "Infinite Jest: Caricature and Satire From Leonardo to Levine" at the Metropolitan Museum of Art in New York City in 2012.

Reviews an exhibition of the work of Robert Smithson at the Whitney Museum of American Art.

The article reviews an exhibition of paintings by the abstract expressionist Joan Mitchell at the Whitney Museum of American Art in New York City until September 29, 2002.

Features several art exhibitions in the United States. Jackie Ferrara's sculptures at the Max Protetch Gallery; Sculpture of Donna Byars at the Museum of Modern Art; Margaret Grace's paintings at the Bowery Gallery.

Focuses on an exhibition of the paintings of Julian Schnabel at the Pace Gallery in New York City, which will be held through December 1984. Theme of the exhibition; Details surrounding the works featured in the exhibition; Look into the predominant artistic style which can be seen throughout the exhibition.

In the catalogue for the posthumous exhibition of the work of artist Liubov Popova held in the Soviet Union in 1924, six months after she died of scarlet fever at the age of 35, the artist is cited thus: "No artistic success has given me as much satisfaction as the sight of a peasant or a worker buying a length of material designed by me." The syntax of the exhibition of Popova's work on view at the Museum of Modern Art in New York until April 23 must be very like that of the Soviet show of 1924. According to the author, the catalogue he began by quoting goes on to say that in the very spring in which she died, "all Moscow, Russia was wearing fabric with designs by Popova without knowing it, vivid, strong drawings, full of movement, like the artist's own nature." According to the author, her paintings all look like pictures of movement that merely aspire to vividness and strength.

The first American painter to have an impact on Japanese artists after the end of the war was Jackson Pollock, two of whose paintings were shown at an exhibition in Tokyo, Japan. It was Pollock, rather than any of the European painters to be seen in the Yomiuri exhibition of 1951, who seemed to the abstract painter Yoshihara Jiro to have pushed back the limits of painting in two ways: by thematizing the materiality of paint, through the use of pouring, dripping and splattering; and by incorporating the bodily gesture, the act of painting, into the product of painting. Through Yoshihara Jiro, Pollock's work became the paradigm for a group called the Gutai Art Association in Osaka, Japan. An exhibition of Gutai artists' work at the Martha Jackson Gallery in New York in 1958 was advertised as "Japanese Abstract Expressionism," and, to the degree that the show was noticed at all, it would almost certainly have been dismissed as a form of imitation, which in any case was one of the stereotypes of Japan in the American mind at the time.

No critic, self appointed to safeguard oppressed and undiscovered genius, nor those chosen young vessels themselves - can complain that the artist with a "tendency" has not been offered a fair chance at the exhibition of the National Academy of Design, open in New York City from March 14 to April 18. In groups and singly, on every hand, are examples of all the latest "movements" in art. And after a tour of the galleries one comes away with the memory of things one does not care for. The Academy hitherto has usually excluded works which have been seen before on its walls or in other public exhibitions in the city. This year, however, with a liberality greater than the Academy has been credited with possessing.

The article presents information about some recent works in art. It focuses on the Uffizi art gallery in Florence, Italy. When the pictures at Santa Maria Nuova were removed to the Uffizi, an already crowded gallery was forced to provide two additional exhibition halls. Moreover, some interesting maps in fresco were found under the hangings of the third Tuscan hall. The room itself has become a sort of resting-place, a much-needed feature in so large a museum, containing only portraits by artist Piero della Francesca. The article also highlights that painting by artist H.H. Reppert will be exhibited at the Lenox Art Academy till April 27.

The article presents information related to the developments in the field of art. "The Life, Letters and Work of Frederic Leighton," by Russell Barrington. The books is rambling and repetitious, padded with much matter of little interest as presented, marred by misunderstandings of foreign tongues, misunderstanding of technical terms, faulty transcription of proper names, and careless proofreading. The sixth annual exhibition of the Municipal Art Society is open at the National Art Society until March 31, 1907.

At the exhibition of the National Academy of Design there were five large drawings, illustrating designs by artist B.M. Hunt for four entrances to the Central Park in New York City and for a terrace in connection with one of them. Photographs of these drawings are now for sale. It seems, then, that the four southern gateways to the park are to be built after these designs. As the southern wall of the park is nearly completed, and is only waiting for the gateways, and as it is already a very long time since gateways were first talked of and reported about, it is probable that the work will soon be begun. These designs, therefore, demand the notice of all who care about the character of decorative architecture.

The article presents information about the fortieth annual exhibition of the National Academy of Design. It is plain that people have been able to learn something from the exhibition of the present state of American art, its achievements and its needs. The exhibition of this year has been more useful than any of those, which have preceded it. This singular usefulness has not been due largely to the greater merit of the works of art composing it. But this year the collection has attracted an unusual amount of attention, and has created an unusual amount of thought on subjects connected with art.

The spring and summer exhibitions in London, England have been as unprofitable as any. They equal or surpass the Academy in dullness, though they include those of the New English Art Club, the International Society, and the Allied Artists' Association, the three societies supposed to stand for all that is youngest, gayest, and most alive in art. The exhibition is a vivid impression of a crowd in the open air, full of movement and color, and far more accurate than the Englishman's painting as a record of character and costume and date. Of course this is no new discovery, but it is one useful to make anew at this moment when contemporary artists in England offer little at all to think about.

This article presents information about the escape of the Royal academy, London, England from conducting winter art exhibition. The excuse is the recent death of four Academicians and one Associate, to a representative exhibition of whose work the winter exhibition is devoted. The Academicians are W.P. Frith, who now seems to belong to so remote a past that, though he died only the other day, he has become something of an old master himself, if a very little one; Sir W.Q. Orchardson, for whose pictures one has long had the habit, in current Academy exhibitions, of turning for relief from the prevailing vulgarity and commonplace; John M. Swan, the fine draughtsman and sympathetic student or animals; and Robert W. Macbeth, who, of the four, seems the most curiously old-fashioned, as the painter ever must who in his time relies upon methods and manners that are but a passing fashion.

The article presents information on several events relating to art. An interesting exhibition of modern work has opened in an art gallery in London, England. The Portrait Painter is the third large exhibition held at this season. The gallery has played an important part in the art history of London during twenty years and more. It is one of the best lighted and best arranged in London. Every member of the Portrait Painters' has the right to exhibit and some members have not enough merit to justify their exhibiting anywhere; so that the show is a curious medley.

This article focuses on the art exhibition of the Pennsylvania Academy. The present show is said to be the best in average quality ever offered here, Of the oncomers there are many close to the leaders, and one finds the ensemble most stimulating. To note standards one eliminate extremes. Works beyond art's gracious ministry to life or out of touch with general culture, problem plays in the visual field or attempts to reform the world or stagger humanity, are happily absent. The two religious paintings by Henry O. Tanner, which might be classed as sentimental or illustrative, cannot, however, be summarily dismissed, for they are able and sincere.

Highlights the art exhibition 'The Architecture of the Ecole des Beuax-Arts,' at the Museum of Modern Art in New York. Overview of the 19th-century French school Ecole; Beaux-Arts in the U.S.; Presentation of the exhibition in Paris, France.

Highlights the art exhibition 'Zeitgeist' in Germany. Entrepreneurs of Zeitgeist; Exhibitors and artists; Art works featured in the exhibition; Meaning conveyed at Zeitgeist.

Focuses on Edward Hopper's American art exhibition at the Whitney Museum in New York. Representational art; Comparison of Hopper's work with contemporary painters; Themes of Hopper's work.