Search

Reviews the exhibition 'Hard Pressed: 600 Years of Printmaking' at the AXA Gallery in New York City. Popular works on display; Materials and design; Artistic style; Breakthrough woodcuts.

The article reviews several exhibitions including "Zarina: Paper Like Skin" at the Guggenheim Museum in Manhattan, New York City through April 21, 2013, "Matisse: In Search of True Painting" at the Metropolitan Museum of Art in Manhattan, New York City through March 17, 2013 and "Blues for Smoke" at the Whitney Museum of American Art in Manhattan, New York City through April 28, 2013.

The article reviews several Manhattan, New York art exhibitions, including "The Terminal Beach" at the Yossi Milo Gallery until August 22, 2008, "Paper City" at Mixed Greens until August 15, 2008, and "History Keeps Me Awake at Night" at PPOW until August 22, 2008.

By now it's no surprise to find a museum-worthy show of a major artist at a Chelsea gallery. The spoils of this season are such that a large trove of 1970s and '80s Lichtensteins arrived last month without much fanfare at the Gagosian Gallery on West 24th Street, overshadowed by another Gagosian coup -- Monet's late paintings -- a few blocks away. At the Lichtenstein exhibition it's harder to forget that you're in a place of business. The bulk of the more than 50 works in ''Roy Lichtenstein: Still Lifes'' comes from unnamed private collections, not museums, and some are for sale. The very idea of Lichtenstein, who died in 1997, as a studious genre painter may seem like a market-generated fiction; certainly the show is less inviting than the gallery's ''Roy Lichtenstein: Girls'' in 2008. [ABSTRACT FROM PUBLISHER]

In their attempt to reflect the increasing sense of unreality and mediasaturated culture, many contemporary writers show a particular penchant for blurring the boundaries between different generic territories. However, rather than employing typically postmodern subversive practices and metanarrative games in their appropriation of popular genres, post-postmodern writers tend to treat them with more appreciation and respectability, by recognising their potential in expanding new literary possibilities and reflecting the complexities of contemporary existence. Analyzing the overlapping between the mimetic and the fantastic elements inscribed in the urban representation of New York in Chronic City, the main aim of this paper is to demonstrate that Lethem's incorporation of the supernatural into a seemingly realistic urban fiction serves not only to foreground ontological instability of the projected world, but also as a world-building practice designed to dissolve generic boundaries so as to subvert the role of genre in the meaning-making process. [ABSTRACT FROM AUTHOR]

Reviews the art exhibition "A. Sweat Equity," by Gareth James at American Fine Arts in Manhattan, New York City.

The article reviews the exhibition "Pierre Bonnard: The Late Interiors," at the Metropolitan Museum of Art in New York City.

The artist and poet Douglas Florian is best known for writing and illustrating award-winning children's books that are wittily educational, especially about animals. Working in gouache with collage, he depicts just about anything with an impressive combination of accuracy and improvisation and is similarly free with language. Mr. Florian, who always works on paper bags, has shown in art galleries since 1985, presenting work that is generally more abstract if no less playful than his illustrations. Here his excellent eye for color shines, and an organic multiculturalism is given full expression. Tantra, Elizabeth Murray, maps, free-range calligraphy, Marimekko handmade wrapping paper and Gerhard Richter all come to mind in this show of 33 small paintings, most done this year. [ABSTRACT FROM PUBLISHER]

THURSDAY night is gallery trolling night in Chelsea, so it was not surprising last week to find a crowd upstairs at the Max Lang gallery, examining the early works of the interior designer Scott Sanders. Under the proud eye of the curator, Shirley Sanders, the crowd examined drawings like ''Self-Portrait With Rosy Cheeks,'' a crayon on paper, from 1969, which showed a grinning little boy in dark glasses who looked eerily like the 47-year-old Mr. Sanders looks today; ''Colonial Home,'' a ballpoint pen on paper, from 1977; and ''Mega Mansion,'' a marker-pen drawing on paper, from 1975, of a great house set on a hilly landscape. [ABSTRACT FROM PUBLISHER]

The article reviews the exhibition "Bridge Art Fair" in Chelsea, Manhattan, New York City

The hijab, or Muslim head scarf, is supposed to deflect attention. So what should we make of the model wearing a leopard-print version and an eye patch? She's the creation of Princess Hijab, an anonymous Parisian street artist, who adorns women in advertisements with impromptu black-marker ''veils'' and papers public spaces with her own hipsterish ''Hijab Ads.'' The princess is the Shepard Fairey of the French Muslim world or maybe the Naomi Klein. Is she a ''hijabist''? Or even a Muslim? We don't know. But you can see some of her work in ''The Seen and the Hidden: [Dis]covering the Veil,'' at the Austrian Cultural Forum in Midtown Manhattan. The exhibition, which includes artists from Europe and the Middle East as well as American artists of diverse backgrounds, reminds New Yorkers that debates about the veil are heating up in many communities overseas. [ABSTRACT FROM PUBLISHER]

Let's get one thing straight: John Currin can draw, but he's no draftsman. His material attraction to paint -- whether in the glowing flesh of his Cranach-inspired nudes or the crude impasto complexions of more modern subjects -- is undeniable. And life drawing has a limited role in his practice, despite his oft-professed interest in the old masters and his self-consciousness about being a figurative painter. So a certain degree of skepticism may accompany a visit to ''John Currin: Works on Paper -- A Fifteen Year Survey of Women,'' at the Andrea Rosen Gallery. What can these 77 drawings, most from the 1990s, tell us about this much-dissected artist or his way of seeing the world that we don't already know, in richer and more compelling detail, from his paintings? [ABSTRACT FROM PUBLISHER]

''Beyond the Canon: Small Scale American Abstraction, 1945-1965'' has a portentous, this-will-change-everything title. The show itself, at the Robert Miller Gallery in Chelsea through Saturday, is a big grab bag. Capricious, uneven and at times overly homogenous, it mixes together unknown gems, golden oldies and undistinguished work. But while it may ultimately reinforce as much as shake up the canon it takes to task, its relatively unfiltered view of art history is a wonderful thing to sort through. The spacious Miller gallery is lined with a thoughtfully installed parade of more than 90 small paintings, paintings on paper and drawings by nearly 70 artists whose reputations run the gamut from unknown to world famous. Most of the works were made in New York in the late 1940s and '50s. But a handful of them fall outside the show's 1945-to-1965 time slot, confusingly broadening its span to 1930-78. [ABSTRACT FROM PUBLISHER]

The article reviews the exhibition "New Light from Afar" by Hiroshi Senju at Sundaram Tagore's Chelsea, New York, gallery.

The article reviews the exhibition "Francis Picabia: Works on Paper, 1950-1951" at Manhattan, New York City.

Reviews "Painter of Modern Life," an exhibition featuring paintings and works on paper by Guy Pene du Bois, at Graham in Manhattan, New York City through July 9, 2004.

This article sketches the geographical background of the Franklin Furnace. The article also discusses the cultural district, the Tribeca neighborhood of downtown Manhattan in New York City, which was the context for the protean and bumptious venue. This article is distantly informed by Pierre Bourdieu's conception of fields of production. It is influenced too by the resurgent discourse in the work of artists and geographers around conceptions of psychogeography derived from the Situationists. This is some sort of philosophically inclined guided tour of the Tribeca art world of the 1970s and 1980s, a beginning to a proper account of this vanished art world. To elucidate the complex aspects and overlaying scenes this narrative tour stutters somewhat in regard to time and place is discussed. The main artistic developments in Tribeca during the 1970s lay in the growth of demi-institutions: nonprofit places for art exhibition called alternative spaces. These proliferated below Canal Street, while the Soho district north of that street mainly saw a growth of commercial art galleries and shops. Franklin Furnace was founded in 1976 nearly 10 years before the makeover of Teddy's.

The article reviews the exhibition "Ceramic Sculpture: Six Artists" at the Whitney Museum in Manhattan, New York City.

The article reviews the exhibition which features the 41 paintings of known painter Buonarroti Michelangelo at the Morgan Library in Manhattan, New York City.

The article reviews the theatrical performance "Hedda Gabler" directed by John Gould Rubin and starring George Tesman and Burke Adams being performed in Manhattan, New York City from August 10 from September 4, 2010.

The article reviews Jack Youngerman's exhibition "Triads/Quadrads" at the Joan Washburn art gallery in Manhattan, New York City.

The article reviews the book "Nightclub City: Politics and Amusement in Manhattan," by Burton W. Peretti.

The article reviews the fourth edition of the DigitalVideo Art fair (DiVA) by Elga Wimmer and Thierry Alet in Chelsea, Manhattan, New York City.