Philip Pearlstein’s “saucer of formalism”

The Montclair Museum’s retrospective of Philip Pearlstein’s work includes an award-winning artwork from high school, expressionist works of the 1950s, post-1961 female and male studio nudes, lesser-known landscapes and cityscapes, and a selection of portraits. Curator Patterson Sims spoke with The Star-Ledger’s art critic Dan Bischoff. “Philip told me, at one point, why he decided … read more… “Philip Pearlstein’s “saucer of formalism””

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Poured, pulled, rolled, slumped, sliced, dripped, swiped, squirted, pieced, and scraped paint in New Jersey

  In the Newark Star Ledger Dan Bischoff reports that “Material Color” at the Hunterdon Art Museum brings together abstract art made out of color — not paint alone, but color that has become an almost three-dimensional object in itself. “Peter Fox’s ‘Royaume’ (2008) is a good example — a six-foot-square canvas covered with loops … read more… “Poured, pulled, rolled, slumped, sliced, dripped, swiped, squirted, pieced, and scraped paint in New Jersey”

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Kirchner’s angular unhotties

I saw the Kirchner exhibition at MoMA yesterday, and found his use of jangly discordant color, combined with obsessively repetitive, diagonal brushstokes completely original and engaging. His daily practice involved drawing miles of linear, knotty pencil sketches, and the sketchbook display alone (he produced hundred of sketchbooks) is worth the trip. Here’s how Dan Bischoff … read more… “Kirchner’s angular unhotties”

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Jen Mazza: “It’s easier, maybe it’s more honest, to be mocking.”

In The Star-Ledger, Dan Bischoff profiles Jennifer Mazza, a painter who lives in Newark above Hobby’s Deli at Branford Place and Halsey Street. She’s been an artist-in-residence at the Newark Museum and at the Museum of Modern Art’s P.S. 1 on the strength of her tiny oil paintings of hands. “Her work is focused for … read more… “Jen Mazza: “It’s easier, maybe it’s more honest, to be mocking.””

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Proto-Bohemian Gustave Courbet arrives at the Metropolitan

Courbet would be glad to know that everyone’s still talking about him. In the NYTimes, Roberta Smith writes that Courbet only grudgingly accepted the title of Realist. “Even in front of his most realistic work, you often find yourself wrestling not so much with lived reality, as with the sheer — very real — uncanniness … read more… “Proto-Bohemian Gustave Courbet arrives at the Metropolitan”

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On Jasper Johns at the Met

At artnet, Donald Kuspit suggests that Johns is a good avant-garde conformist, and that his gray is evocative of the “man in the gray flannel suit.” “Modernism was no longer a terra incognita of art when Johns entered its ranks, but an established phenomenon, if still a little risqué, at least in the United States. … read more… “On Jasper Johns at the Met”

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Toledo in Princeton

“El Maestro Francisco Toledo: Art from Oaxaca, 1959-2006,” organized by the Stanlee and Gerald Rubin Center for the Visual Arts at the University of Texas at El Paso. The Princeton University Art Museum, Princeton, NJ. Through Jan. 6. Dan Bischoff reports in The Star-Ledger: “Toledo is a later generation modernist. He turned away very early … read more… “Toledo in Princeton”

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The critics respond: What is painting?

‘What Is Painting?” curated by Anne Umland. The Museum of Modern Art, New York, NY. Through September 17 In New York Magazine Jerry Saltz writes his own narrative for the exhibition: “The revisionism of this show works partly because it is so seamless. Except for one or two cases—a generically decorative canvas by Beatriz Milhazes … read more… “The critics respond: What is painting?”

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What is painting?

‘What Is Painting?” The Museum of Modern Art, New York, NY. Through September 17 In The Village Voice, R.C. Baker recommends the show: “This big, brightly didactic survey of painting movements since roughly 1965 feels a bit like the Astor Place Kmart—blocky white spaces filled with disparate goods of mixed quality. Culled from MOMA’s collection, … read more… “What is painting?”

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