Kimmelman’s in Spain

Wouldn’t we all love to have Michael Kimmelman’s job? Today he reports from Madrid on The Prado’s exhibition, Goya in Times of War. Not only does he travel throughout Europe, but he chats with interesting artists. “The sculptor Richard Serra saw the Goya show recently and told me, with a kind of rapture, that he … read more… “Kimmelman’s in Spain”

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Rauschenberg is dead

Robert Rauschenberg, the irrepressibly prolific American artist who time and again reshaped art in the 20th century, died Monday night of heart failure. He was 82. In The NY Times, Michael Kimmelman writes that Rauschenberg’s primary interest lay in the process, not the product. “The process — an improvisatory, counterintuitive way of doing things — … read more… “Rauschenberg is dead”

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Modernist Joseph Solman dead at 99

“Joseph Solman, a painter who, with Mark Rothko and other modernists, helped shape American art as early as the 1930s and, into a new century, continued to paint in his studio above the Second Avenue Deli in New York, died on Wednesday at his home in Manhattan,” Michael Kimmelman writes in the NY Times obituary. … read more… “Modernist Joseph Solman dead at 99”

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Venice Biennale: serious and smart

Kim Levin in The Brooklyn Rail: “So many skulls, tibia, ribcages, soldiers in uniform, mortally wounded dolls, and flocks of birds morphing into missiles or warplanes (the way skulls and bones morphed into picks and shovels during the Black Plague) haven’t been seen together in the art world since, well, the Dark Ages….Storr’s show may … read more… “Venice Biennale: serious and smart”

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The “touchingly strange” paintings of Georges Rouault

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”

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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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