Art Review

Head Like a Hole

Sascha Braunig
Foxy Production, NYC
Through April 30, 2011

Sascha Braunig's debut solo exhibition at Foxy Production is a quiet, understated affair, in perfect accord with her diminutive, portrait-like paintings. Braunig approaches the practice of the studio portrait from a different angle: she creates imaginary subjects, though rendered with a convincing, surrealist precision. Like the French Academic still-life painter Chardin, Braunig eschews heroic subject matter, concentrating on the simple portrait, rendered life-sized, on small, unframed canvases. And with quite powerful results. Read more »

World of Skin

Berlinde De Bruyckere: Into One-Another to P.P.P.
Hauser & Wirth, NYC

Through April 23, 2011

"What a piece of work is man! How noble in reason! How infinite in faculties! How like an angel! In apprehension how like a god! The beauty of the world! The paragon of animals! And yet, to me, what is this quintessence of dust? Man delights not me, no, nor woman neither...." Hamlet's despair. The existential dilemma. Before his untimely death at the hands of a trick gone bad, the Italian filmmaker Pier Paolo Pasolini (The Gospel According to Matthew, Accattone!, and Salo) captured the ruins of post-WWII Italy -- and the metaphoric inner decay of its people -- by showing the beauty of man corrupted. Belgium artist Berlinde De Bruyckere pays homage to Pasolini and the history of Northern Renaissance masters in the exhibit Into One-Another to P.P.P. currently at Hauser & Wirth, New York. Read more »

Night in the Ruts

Karen Kilimnik: my walk in the woods at night
303 Gallery, NYC
Through April 23, 2011

We can feel the slipping away of old forms of knowledge, of practice, of gathering the necessary information. How vast was our collective iconography once. Ancient ceramic and stone epics from Greece and Rome, Prussia, and Egypt. The vivid Christian depictions of the Middle Ages; stories told through symbols: the Ox for Luke, the Lion for Mark, the Eagle for John. The serpent, the peacock, the cross and crown. Masaccio's "Adam and Eve" or Goya, with his Caprichos, transmitted something essential about our existence -- a record, getting a bead on something, and lesson, all at once. Picasso's "Guernica" was possibly the last work to make such a statement. Or Julian Schnabel's series "The Recognitions." Read more »

Tyson vs. Picasso

Jonathan Richman sang, "No one ever called Pablo Picasso an asshole." This probably wasn't entirely true. In any case, the talented and witty painter Nicola Tyson weighs in on Picasso, whose Guitars are now on view at MoMA.

02/14/2011

Dear Picasso,

A journalist recently asked me if as a female figurative painter -- as opposed to just a figurative painter -- I’d been influenced by you, which I thought is a bit like asking if my diet had been influenced by Monsanto. Unavoidable. Read more »

Come on Pilgrim

David Sandlin
Donnell Library Window Space, NYC
Through March 27, 2011
 

The painter Veronese was summoned before the Inquisition in 1573 to answer to charges of blasphemy. In a painting of The Last Supper he represented worldly things in addition to the spiritual. Among his figures was a dog, which constituted the blasphemy for which he was being charged. A decade earlier the Council of Trent had declared what was iconography for these religious scenes, and a dog clearly was not among the list of appropriate subjects. Read more »

Poker Face

Cézanne’s Card Players
Metropolitan Museum, NYC
Through May 8, 2011

The Metropolitan Museum of Art's small survey of Cézanne's Card Players series highlights three versions or variations of the seminal painting. Although it is indisputable that much of Cézanne's concerns in this group of works -- indeed in much of his painting -- were formal ones, here we see into these pieces something of the psychology that Picasso and Giacometti called "Cézanne’s anxiety." Read more »

Heart-Shaped Box

Picasso: Guitars 1912–1914
Museum of Modern Art, NYC
Through June 6, 2011

In the course of only a few years, Pablo Picasso and his friend and colleague Georges Braque revolutionized painting through the development of Cubist Abstraction. Around 1912 or 1913 Picasso seems to have made a leap from the two-dimensional collages -- a technique Braque had pioneered -- bringing his own personal style of metamorphosis into three dimensions. Picasso's art, which seldom left the tether of a human or figurative referent, found a perfect metaphor in the form of the guitar. Read more »

Slanted and Enchanted

Lynda Benglis
New Museum, NYC
Through June 19, 2011

Since the late '60s, Benglis has been making objects and creating performance works that nominally were developing a feminist slant on Minimalist and Process art — nominally being the key word here. Although her work incorporated many of the basic tenets of the movement, there was always something inherently sexual permeating the material nature of her work. Beginning with her early latex pour pieces, Fallen Paintings (1968), which removed the medium from the canvas and let it pool sensuously over the floor, to the more literal "Smile" (1974), a cast-lead double dildo that she famously posed with — inserted — for an Artforum ad, these early works, as well as single-channel videos (Female Sensibility, 1973) and sets of Polaroids of her and her cohort, Robert Morris, drew a fine line between the discipline of Minimalism and the discipline of Discipline. Read more »

My Name Is...

Josh Smith
Luhring Augustine Gallery, NYC
Through March 19, 2011
 

There was a time, not that long ago, when we thought about art as an extension of ourselves. We spoke of a body politic, a body of work, a signature style. Josh Smith took this way of thinking about style and the artist quite literally: he painted semi-abstract paintings of his name on the canvas. Although this end-run around a long history of painterly thought could have remained a one-liner, Smith's recent works at Luhring Augustine show him in the process of developing a larger vocabulary out of this initial framework. Read more »

Scary Monsters and Super Creeps

Jason Bard Yarmosky: Elder Kinder
Like the Spice Gallery - Williamsburg, Brooklyn
Through March 11, 2011

From Kouros sculptures to the late self-portraits of Picasso, when artists depict the very young or the very old, questions of intent and psychology always arise, grafting themselves to the work of art. Jason Bard Yarmosky turns the tables on the usual practice of showing the blossoming of youth or the dying embers of old age by combining the two in an oddly intriguing, though deeply unsettling way.

Yarmosky paints portraits of the elderly, with an eye to the vicissitudes of old age, yet dresses them up in attire reminiscent of the boxed Hallowe’en costumes of the Spider-Man variety. On the surface they appear to be riffing on the character of the creepy old neighbor on Family Guy, or, more sinisterly, John Wayne Gacy and his collection of clown costumes. Harmony Korine’s recent Trashhumpers is populated with a similar species -- young actors with the prosthetic makeup of old men, wiggling dildos and drooling onto their pajamas. Here, a football-helmeted codger cradles a scotch while standing in his boxers ("Tight End," 2011); in "Cowboy" (2011), a dark shadow obliterates the face of a potbellied man in a Stetson and vest. Read more »

Velvet Goldmine

Ellen Gallagher: Greasy
Gagosian Gallery, NYC
Through February 26, 2011
 

Ellen Gallagher has for many years attempted to construct an alternate reality for her viewers, as much as for herself. In her recent exhibit, Greasy, she continues this pursuit, attempting a hybrid of the Harlem Renaissance’s New Negro movement with a slacker form of High Modernism. Her dogged attempts at unification are inspiring, if only because she brings into our grasp a sense of the urgency that her subject matter, as well as painting, means to her.

Belief is firstly an act of willful imagining. It is what imagination is called when we create an object or system which is greater than ourselves; it develops an internal power or authority. Read more »

I’ll Be Your Mirror

Jenny Dubnau: Head On
Aldrich Museum
Ridgefield, CT
Through June 5, 2011

There were those who once believed that Alberto Giacometti pissed away a flourishing career as a leading Surrealist sculptor for what some saw as the seemingly futile pursuit of trying to paint a nose convincingly affixed to a face. Because it was Giacometti, we trust his judgment and agree that it was a good idea after all. His project for portraiture, which he pursued for the next 30-odd years, was of vital importance. Similarly, Jenny Dubnau's exhibition at the Aldrich, of simple faces portrayed against a blank ground, shows how compelling that idea still is. Read more »

Inside The Snowglobe

vilinski-diasporaContemporary Souvenirs
The Gallery of Contemporary Art
Sacred Heart University, Fairfield, CT
January 23 - March 3, 2011

Outside, adopting the form of mountaintops, pyramidal mounds of snow in the parking lot and courtyard masked views and uncovered new perspectives. Inhaling, the sub-zero air crystalized inside my body; exhaling and imagining white sandy beaches, my breath left a trail of fog that looked like an aerial message advertising an Iceland getaway. Read more »

Hazy Shade of Winter

Seth Michael Forman: Snow
Frosch&Portmann Gallery, NYC
Through March 6, 2011
 
The timing of Seth Michael Forman's exhibition at Frosch&Portman could not have been more fortuitous, coming as it does in the middle of a seemingly endless winter. In contrast to our daily encounters with urban snow -- that blackened, dirty, slushy stuff -- Forman’s pristine crystals seem a relief.
 
Through Forman's paintings we are transported to an eerie, isolated landscape of the Northern Exposure variety. A strange cast of woodland kings and Twin Peaks Log Ladies might be illustrations of what Paul Celan, addressing the work of Georg Buchner, wrote:
"Going beyond what is human, stepping into a reality which is turned toward the heaven, but [is] uncanny -- the realm where the monkey, the automatons, and with them…[all] seem at home."

God Save The Queen

George Condo: Mental States
New Museum, NYC
Through May 8, 2011

As might be expected from the hyper-prolific Condo, his retrospective Mental States at the New Museum is a bawdy, sprawling affair. Since the early 80s Condo has continued to develop a body of work which both appropriated and expanded on artists as diverse as Picasso and Velasquez, Guston and Gorky, while striving for a hybrid sort of Pop Surrealism, peppered with subject matter like Crucifixions and Shakespearean dramas. Condo has more often than not hit his mark by accidently landing in a zone of comical, dark, whimsy. This fine exhibition backs him on this gambit by studiously trying to elevate his work to Old Master status. Read more »

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