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As serious, trained professionals who care deeply about art and artists, and place a high value on the disciplines of art history and art criticism, we regularly reflect on the role of the art writer/critic—what it is today and what it should be in a rapidly changing art world.
Brad Kahlhamer speaks with Susan Harris about how he got his start in the art world, his working relationship with the Heard Museum, and his multi-discipline practice.
On the occasion of the traveling retrospective Kiki Smith: A Gathering, 19802005, the artists first full-scale survey (on view until February 11, 2007), Kiki Smith welcomed Rail publisher Phong Bui and independent curator/writer Susan Harris to her home and studio to discuss her life and work.
Ralph Humphreys exhibition at Gary Snyder Gallery illustrated his unique contribution to American abstract painting. In contrast to the metaphysical aspirations of the Abstract Expressionist painters whom he admired when he arrived in New York in the late 1950s, Humphreys territory was secular and nonspiritual.
The “Autobiography” series came about after a near fatal crash in which Pindell sustained severe injuries and memory loss. Early works from this series on view at Garth Greenan bear witness to the artist literally and figuratively piecing together fragments of her past.
It is a thrill to see Leon Golub’s in-your-face paintings on the brutalist walls of the Met Breuer. During his lifetime, American painter Leon Golub received little institutional recognition—particularly from museums in the US.
Nancy Speros recent exhibition at Galerie Lelong reaffirms the artists status as a national treasure.
Harold Ancart is a Belgian-born, New York-based painter who seems to have catapulted into the limelight in recent years. His first one-person show at David Zwirner in New York fills two of Zwirners adjacent 19th Street locations with large, dazzling paintings, all created in 2020, that provide ample opportunity to consider his contribution to the recent reappearance of a familiar conversation concerning painting.
James Luna:e a Picture with a Real Indian is a posthumous installation at Garth Greenan Gallery of a performance/installation originally commissioned by the Whitney Museums downtown branch in 1991. The piece takes on issues of Native American identity and stereotypes, and explores how they land in largely non-Native spaces of viewing and writing about art.
Ursula von Rydingsvard’s commanding new sculptures in natural, rough-hewn cedar are captivating in their correspondences to and departures from the awe-inspiring and warmly welcoming works that have defined her thirty-year oeuvre.
Since her breakout moment in 2014 when she was catapulted into an arena where art meets fashion meets popular culture, Chloe Wise has become an art fair darling and has demonstrated herself as a witty observer of, and participant in, her millennial generation and culture.
Surveillance marks a vast leap in a new direction. Working on, experimenting with, and percolating this new body of work for years, Shepherd dug deep into her self and her process to figure out how to make paintings that would essentially make themselves instead of her superimposing images on them.
Huma Bhabha: Facing Giantsis a tour de force of new sculptures and painted and drawn collaged works on paper that expands upon and distills Bhabhas 30-year passage in transforming common and discarded materials into powerfully expressive testaments of the human condition.
Taylors subject material in Future Promise, at James Cohan Gallery, has taken a turn toward the personal in paintings that reflect the impact of quarantine on her as an artist, mother, and person.
Mildred Thompson: Throughlines, Assemblages and Works on Paper from the 1960s to the 1990s cracks the veneer of the 20th century, modernist canon to highlight a little-known body of work by an African American abstract artist who, in spite of being overlooked and criticized for her race, gender, and style, remained resolute in her vision.
Entering Alain Kirilis exhibition, Whos Afraid of Verticality, is like joining a gathering of benevolent beings in a space that lifts ones gaze and spirit.
Spanning nearly 400 linear feet, this body of work took ten months to realize and represents Steirs largest painting installation to date.
His artworks create opportunities for contemplation, reassessment and, hopefully, healing for Native and non-Native people alike.
JUDITH STEIN with Susan Harris
Eye of the Sixties: Richard Bellamy and the Transformation of Modern Art
You’ve done a beautiful job, a great service to us all in bringing to light so much valuable information on this quiet visionary, Dick Bellamy, who, by your account, was unintentionally drawn to, and pinpointed artists who went on to speak to and define a whole generation.