The inscrutable Sigmar Polke

In today’s NYTimes, Carol Vogel visits Polke in his Cologne studio before he ships his paintings to the Venice Biennale. As is always the case with his work, Mr. Polke said, the paintings for the biennale sprang from specific ideas yet evolved in mystical ways as he experimented. “This is the meeting point of ideas … read more… “The inscrutable Sigmar Polke”

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NYT art reviews: Markus Lüpertz & Martin Kippenberger

Roberta Smith looks at German paintings made with a wink and a sneer. “Painting may go in and out of fashion, but its many lifesaving graces always keep it afloat. One is its capacity for what might be called beautiful sarcasm, a sly self-parody while still looking good that is cultivated by many young painters … read more… “NYT art reviews: Markus Lüpertz & Martin Kippenberger”

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David Kapp and Robert Berlind interview Wolf Kahn in The Brooklyn Rail

“D.H. Lawrence said what was good about Moby Dick was that Melville didn’t really know what Moby Dick symbolized. He knew it was a symbol, but he didn’t know what it was a symbol of. In the same way, when you’re thinking about your own motivations and the meanings of your work, the less you … read more… “David Kapp and Robert Berlind interview Wolf Kahn in The Brooklyn Rail”

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David Godbold’s mirthless mirth

Ben Davis dissects David Godbold’s snarky exhibition in artnet today. “Contemporary art is universally irreverent, but most often none too funny. This observation is particularly striking when one considers the fact that a lot of it, particularly that inspired by Big Daddy Marcel Duchamp, owes its very being to the tropes of comedy — masquerade, … read more… “David Godbold’s mirthless mirth”

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Edward Hopper’s negative feng-shui

Peter Schjeldahl reviews the Edward Hopper retrospective at the Boston Museum of Fine Arts.“The scale of the paintings is indifferent, in the way of graphic art. Their drawing is graceless, their colors acrid, and their brushstrokes numb. Anti-Baroque, they are the same thing when looked at up close and when seen from afar. I believe … read more… “Edward Hopper’s negative feng-shui”

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Michael Kimmelman NYT review of Myron Stout

Art Reveiw “The canvas,” Stout wrote, “came not from any remembered form of flowers or flower beds but from a tree outside the door, a tree that the thin foliage of the lower reaches allowed the rising branches to be seen, rising, yet moving sideways, toward each other.” His small, spare, intimate abstractions can be … read more… “Michael Kimmelman NYT review of Myron Stout”

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Dana Schutz Fest

Schutz’s new paintings are at Zach Feuer through May 19. Holland Cotter weighs in on Schutz’s show at Feuer in The New York Times. “The art industry requires that at least one young artist be shot into the stratosphere every few years. The painter Dana Schutz was the choice in 2002, when she was in … read more… “Dana Schutz Fest”

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The accumulated weight of experience

Richard Rhodes on the new abstraction: “Painting has regained its relevance—socially and professionally. It has re-established a life for images beyond photography and the mass media. It stands as an alternative to conceptualist artmaking. Once buried by art theory, it has returned to reconnect with centuries of art and to anchor contemporary art to its … read more… “The accumulated weight of experience”

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