Michael Kimmelman reviews the Rouault exhibition in today’s NYTimes. “At one time Rouault’s reputation rivaled Matisse’s, and his clowns and prostitutes were as ubiquitously reproduced as Ben Shahn posters. He had retrospectives at the Museum of Modern Art in 1945 and 1953; when he died in 1958, at 87, the French government organized a state … read more… “The “touchingly strange” paintings of Georges Rouault”
Jerry Saltz reviews the show in New York Magazine. “The main attractions of this exhibition are 50 little happy-faced flower paintings and six large portraits of a haggard-looking Zen patriarch. The flowers are insipid. So are the portraits, although at least with them Murakami is up to his old extreme stylization. But the real content … read more… “The superslick, super-flat, superexpensive paintings of Takashi Murakami”
According to Spiegel Online International, German painter Jörg Immendorff passed away today from complications related to a neurodegenerative disorder. He was among Germany’s most influential postwar artists. Read more.
In their first street festival, Ugandan Artists from Kampala filled in and painted some of the city’s biggest potholes. Read more.
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”
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”
George Baselitz in New YorkChristopher Wool in Berlin
“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”
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”
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”