While art criticism languishes in the doldrums, I get my information on who to watch, what to read, must see shows, and related matters from Twitter and Facebook. These two networking services, which I consult throughout the day on my iPad and my iPhone5, have become indispensable sources of information for a variety of reasons.
Sturm und Drang, a solo show from Nicole Eisenman thats on view at The Contemporary Austin through August 16, features representative examples of her art. No matter the medium, she excels. Besides her skill at making things, she forcefully expresses herself with aplomb, conviction, empathy, bravado, and a gift for visual storytelling.
Laura Hoptman is an old hand at finding new talent. Time and again, Hoptman has shown that she has a good eye, a searching intelligence, and a sense of history. Years ago, during her first stint at the Museum of Modern Art, she introduced many of us to Maurizio Cattelan, John Currin, and Luc Tuymans.
Say the name Donald Judd, and many people will picture an object that has taut lines, sleek metallic surfaces, and often is two-toned like a sedan from the 1950s. Squiggles dont come to mind. Thats partly why it was such a surprise to find 15 paintings by the artist dating from 1959 into 1961 on view this autumn at the Gagosian Gallery in Chelsea that were so unlike the three-dimensional constructions the artist would soon fabricate.
Because many of his figures appear in settings with backyard swimming pools or the ocean, a range of blues dominates his works. Frequently, his subjects are more memorable than his technique.
The David Smith show on view at Hauser & Wirths uptown outpost is both lively and unusual.
Michael Williams was among the unlucky artists who had a solo show shuttered when New York went into lockdown in mid-March. On view for only two weeks, his exhibition at Gladstone Gallery in Chelsea featured 11 large paintings and five small collages. While these works are now accessible on the internet, this isnt an ideal way to view thempartly because of the way they were made, and partly because his installation was integral to how you respond to his art.
As it is, Sillman is a gamechanger. Her paintings and drawings reframe long-held notions regarding the look and emotional character of abstraction, a style that enjoyed its golden age in America a half century ago during the 1960s.
In 1969, Georg Baselitz, then a 31-year-old artist based in southwest Germany, began painting people, places, and things upside down. Over the course of the following decades, his art changed considerably. Nevertheless, he still inverts his subjects. This practice, coupled with existential themes, remains the hallmark of his art.
Sculptures, installations, assemblages, photographs, and other works executed by Giuseppe Penone and his Arte Povera colleagues often look off-kilter and slightly madcap. Think DIY. Or picture these Italian artists, active since the late 1960s and early 70s, stranded on a deserted island and joyously making art from found materials.
Josh Smith has done it again. With a palette favoring lilac, tangerine, lime, and citron, he has transformed a relatively bland subject into a fevered dreamscape.
Before the Internet and social media, it was easier to read about Jackson Pollock 51 than it was to see the film Hans Namuth directed and Paul Falkenberg produced.
Robert Motherwell was a multi-hyphenate artist. Hes entered art history books as the youngest and best educated of the first wave of Abstract Expressionists. But Motherwell also enjoyed a significant career as the editor of the Documents of Modern Art series, among other publications, and as a Hunter College professor.