On the occasion of his recent solo exhibition To New York With Love at James Fuentes Gallery, Jonas Mekas, the indefatigable advocate of American independent cinema, graciously took the time out of his busy schedule to meet with the graduate students of the Art Criticism and Writing program at the School of Visual Arts for an in-depth conversation.
George Gittoes was recently able to set aside some time for an extended conversation with Railpublisher Phong Bui and his students in the MFA Art Criticism and Writing program at the School of Visual Arts, via Skype from Pakistan.
I had imagined that by now the world would have seen the best of black-and-white, that antithesis of all antitheses.
Makoto Fujimuras recent paintings exist on the cusp of paradox.
Intimate or no, the relationship that artist, architect, and philosopher G.T. Pellizzi shares with his tigerthat is, the art worldis not dissimilar from the one conveyed in Stendhal’s aphorism: Pellizzi, ever eager to engage in a play date, never steps on the scene without wisely packing plenty of heat.
It is a rare and refreshing thing for inclusiveness to give an art fair its edge; somewhere between quality and quantity, variety and uniformity, a careful balance must be struck.
Despite its name, Empty House Casa Vazia is anything but vacant: it blooms like a veritable Garden of Neoconcrete Delights, affording the eye plentiful stimuli ranging from sleek to arch. The eighteen Brazilian artists who have hewn these peculiar treasures span generations, yet their works share certain mannerisms and makeup, as well as a common conceptual tongue.
When speaking of his canonical painting Carnival of Harlequin (1924 25), Joan Miró once explained its anthropomorphized objects and hybrid creatures by saying: “I tried to deepen the magical side of things.”
n the conclusion of his 1983 review of a Lee Krasner retrospective held at the Houston Museum of Fine Arts, Robert Hughes wrote: “This is an intensely moving exhibition, and it will suggest to all but the most doctrinaire how many revisions of postwar American art history are still waiting to be made.”
When looking at the plentiful selection of David Hockney’s early drawings now on view at Paul Kasmin Gallery, it is not the words of the artist but those of John Berger that first come to mind.
Bill Jensen can be a difficult artist to love. Anxious and phenomenal, the work of this Brooklyn-based painter often goes down as smoothly as a gulp of Campari. But in Floating World, his current solo show at Yoshii Gallery, Jensen has dared to ease his hand and decompress his compositions.
Some of the most striking colors to be found in the natural world exist solely as counterparts to death and decay. Here and there, the lately living or slowly fading are ushered beyond the pale by richly-hued molds and parasites that unfurl in balloons and waves of radiant rot.