Arts Coverage and Review

August 19, 2017


Lygia Clark at MoMA

It is little wonder the Lygia Clark foundation long resisted surveys of the artist’s career. MoMA’s recent coup, a full-scale retrospective of Clark’s work spanning 48 years proves the foundation’s concerns to be legitimate. Clark’s early paintings translate easily to a gallery setting, but her most interesting work, the therapeutic art of the 70s and 80s, complicates MoMA’s attempt to resurrect a little known and potentially very important artist. Clark’s Constructivist-inspired paintings, which occupy most of the sixth floor, present Clark’s early career as an accomplished harbinger of Minimalism. Grayed out whites and greens highlight the refinement of a marble-like …continue reading

All That Glitters: Howardena Pindell: Painting 1974 – 1980

Garth Greenan Gallery presents Howardena Pindell: Painting 1974 – 1980, a process-oriented show of unstretched canvases clinging to the gallery drywall. The tapestries, all untitled, are evenly treated with a chromatically pastel adhesive with which thousands of hole-punch chads and glitter are glued to all-over surfaces. Greenan’s presentation of Pindell suggests that the artist should be revered for her contributions to the hand crafted and the homemade The survey leaves out Pindell’s important shaped works and excludes the artist’s figurative ventures (which ambitious diversity was recently presented at G.R. N’Namdi in Chicago). Instead Greenan’s presentation focuses on the artist’s all-over …continue reading

Etel Adnan

Ninety years young, with a room of her own at this year’s Whitney Biennial, Etel Adnan has an exhibition up now at Callicoon Fine Arts through May 25, 2014 at 124 Forsyth Street and at the gallery’s new, additional location, 49 Delancey Street.  Coinciding with the exhibition, is a two-volume book, hailed as a landmark edition following Adnan’s work from the “infernal elegies of the 1960s to the ethereal meditations of her later poems, to form a portrait of an extraordinarily impassioned and prescient life.” I feel cheated.  Why am I just learning about this prescient artist now?  I just put all her books on …continue reading

‘If you’re accidentally not included, don’t worry about it’

Peter Saul’s extravagant cartoonish visions, for which he is well known, have only a tempered influence on his curatorial vision for ‘If you’re accidently not included, don’t worry about it’ at Zurcher Studio. Despite many of the selected works’ nod to bawd, the show is a socially graceful arpeggio that challenges the current traditions of ‘curation’. Mr. Saul has included “either friends I’ve had for years, or … people I just met once for a few minutes and seemed friendly enough.” In the currently forming field of contemporary art, it should not be the duty of the curator to present …continue reading