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Reviewing current art, both locally and globally, it appears that much of it has or purports to have a political content.
On a recent trip to London to see the historic Abstract Expressionism exhibition curated by David Anfam at the Royal Academy, I visited the studio of Christopher Le Brun, President of the Royal Academy since 2011, and the youngest to be elected since Lord Frederic Leighton in 1878.
James Bishop met with Alex Bacon and longtime friend Barbara Rose in New York for only the third interview he has given in his over 60-year career.
Marcel Duchamp: La Peinture, Meme, the current exhibition at the Centre Pompidou in Paris, is a refreshing new look at Duchamp with many surprises. The title is fittingly a double entendre.
On the occasion of the installation of his large-scale painting, Dream, in 2015 at the Fordham University School of Law, lifelong painter Bill Conlon sat down for a conversation with the art historian Barbara Rose.
I first wrote about Joanna Pousette-Dart's work in 1985 in an articled titled "Rule Breaker's" published in VOGUE. I have followed her work from the very beginning.
“The word Apocalypse itself means unveiling—it’s about revealing the hidden meanings of history. And we want history to have a meaning.”
Art Historian Barbara Rose talks with Heather Hutchison about her work, the Umbrian landscape, and how natural phenomena inspire her compositions.
From the time that Diderot first began publishing his critiques of the salon rating the paintings exhibited, the job of art criticism was presumed to be to judge the relative quality of works of art. Baudelaire broadened the definition to being passionate and partisan in the defense of new art.
This summer Dia:Beacon finally opened the long-awaited Carl Andre retrospective documenting 50 years of his career. Co-curators Yasmil Raymond and Phillipe Vergne, assisted by Manuel Cirauqui, spent years researching and organizing the entirety of Andres production and it shows in the comprehensive view and sensitive installation of the work.
Nothing sums up the ephemeral nature of MoMAs attempt to make a statement about painting today better than its title, The Forever Now. The phrase implies no history and no future, no past and no evolution.
The sophistication and innovation of Lyghts work depend on a balanced layering of colored planes slipped in and out of their constructed enclosures. The originality of the work depends on autonomous self-reliant balance that mirrors the life he has lived as an adventurer and explorer.
I met Ad Reinhardt in 1962, after returning from a Fulbright in Spain. Seeing Ads work, and spending time with him, was significant to the development of my early career.
A discussion of slow art as an antidote to the speedy assimilation of imagery can begin with the embrace of an aesthetic of instantaneous impact characteristic of American art of the Sixties.
At the time of Ad Reinhardts early death in 1967 he was best known for his seminal black paintings, which had become recognized as forerunners of new artistic developments of the moment, such as Minimalism and Conceptualism. It is only now that the many and varied aspects of his career and life are becoming the focus of intense scrutiny and debate.
Barry Schwabsky is a poet who writes art criticism regularly for the Nation. His recent book Words for Art compiles his reviews of essays by historians, philosophers, curators, critics, artists, and journalists published in English (some in translation) over the past two decades.
It was 1965 in Rome. She was standing outside the door of painter Stephen Greenes apartment where I was staying, huddled in the doorway crying because her mother had just died. Beverly Pepper was not good at hiding her feelings and so she didnt try.