NY Times Art in Review: Little, Man, Smith, Tegeder

JAMES LITTLE, June Kelly Gallery, New York, NY. Through June 9. HOLLAND COTTER: Each stripe becomes a self-defined spectrum, each painting a rainbow. Such results could be just pretty; the work’s titles — “Satchmo’s Answer to Truman,” “The Marriage of Western Civilization and the Jungle” — seem designed to make sure we don’t see them … read more… “NY Times Art in Review: Little, Man, Smith, Tegeder”

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NY Times Art in Review: Powhida, Katz, Minter

“WILLIAM POWHIDA: The Writing Is on the Wall,” Schroeder-Romero, New York, NY. Through May 16 Holland Cotter: William Powhida, art world vigilante, virtuoso draftsman, compulsive calligrapher, fantasist autobiographer and recently self-announced gallery owner and art dealer, has a semi-solo show at Schroeder-Romero well worth catching. As in the past, Mr. Powhida, who lives and works … read more… “NY Times Art in Review: Powhida, Katz, Minter”

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Martin Kippenberger shines at MoMA

I finally saw the remarkable Martin Kippenberger retrospective at MoMA yesterday, which is a must-see for anyone who doubts that the physical act of making objects holds meaning. “The career of the German artist Martin Kippenberger, who died in 1997 at 44, was a brief, bold, foot-to-the-floor episode of driving under the influence. What was … read more… “Martin Kippenberger shines at MoMA”

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Multitasking painters like me

As if in response to my discussion with hyperallergic Hrag last night about multitasking vs. concentrated monofocus, in the NY Times this morning Holland Cotter reports that most of the painters selected for “Younger Than Jesus” are committed multitaskers. “The artists Tala Madani, born in Iran, and Jakub Julian Ziolkowski, from Poland, do oil-on-canvas pictures … read more… “Multitasking painters like me”

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NY Times Art in Review: Robert Mangold

“Robert Mangold: Drawings and Works on Paper 1965-2008,” PaceWildenstein, New York, NY. Through April 4. Holland Cotter reports: “Taken in isolation, none of these abstract forms are particularly gripping. But when they’re arranged together, salon style, across the gallery wall, as they are at PaceWildenstein, their invention and variety are a thrill. Possibly, scale is … read more… “NY Times Art in Review: Robert Mangold”

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“The wall drawing is a permanent installation, until destroyed”

After nearly six months of intensive drafting and painting by a team of some sixty-five artists and art students, “Sol LeWitt: A Wall Drawing Retrospective” is fully installed at Mass MOCA. Conceived by the Yale University Art Gallery in collaboration with the artist before his death in April 2007, the project has been undertaken by … read more… ““The wall drawing is a permanent installation, until destroyed””

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Why painters keep painting

In the NY Times Holland Cotter explains why Giorgio Morandi kept painting, even after his hands became shaky and his eyesight started to fail. “You might ask other artist-poets this question: Joseph Albers, say, or Paul Klee or Agnes Martin or a New York artist I know who sits down at his apartment desk for … read more… “Why painters keep painting”

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Ashbery and Naves: Completing the circle

This month well respected art critics Mario Naves and John Ashbery both present their collages in New York. In the NY Sun, David Cohen covers both shows. “Is there something intrinsic to the appeal of collage to writers — to moving bits of paper around in startling, revelatory juxtapositions? The coincidence of two shows of … read more… “Ashbery and Naves: Completing the circle”

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Cotter declares recreated Knoebel installation authentic!

NY Times critic Holland Cotter made the trip up the Hudson this week to visit Dia: Beacon and reports that he has no problem with the 2008 recreation of the 1977 Imi Knoebel installation. “’24 Colors—For Blinky’ was in storage for some 30 years, and when it was finally retrieved, Mr. Knoebel decided that it … read more… “Cotter declares recreated Knoebel installation authentic!”

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Two restoration tales: Ad Reinhardt and Imi Knoebel

In July issue of The Brooklyn Rail, I wrote about an Imi Knoebel installation at Dia:Beacon. The installation, billed as a restoration of Knoebel’s 1977 project “24 Colors–For Blinky,” was in fact a wholesale recreation of the enormous project. Preservation and restoration of Minimalist art is the subject of a small show currently on view … read more… “Two restoration tales: Ad Reinhardt and Imi Knoebel”

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