Posted on March 2, 2024, 2:21 PM, by jfriedman, under
art history.
While the Whitney Museum of American Art’s webpage still defines the Whitney Biennial as “the longest-running survey of American art” (emphasis added), this year’s eighty-first installment will expand its reach well beyond the United States. The show includes artists from Chile, Britain, Korea, Indonesia, Canada, Hong Kong, Germany, Switzerland, Lebanon, Singapore, Mongolia, Finland, Sweden, Croatia, India, Mexico, and China. This mad dash for inclusivity is consistent with the theme of the 2024 Venice Biennale, “Foreigners Everywhere,” but, whereas Venice’s has always been an international affair, the Whitney’s has always been national, making it a radical departure.
This article is a response to a Hyperallergic editorial which argued that curation by “frontline museum workers” is preferable to that of trained curators. Click on the image below to read the full text.
In early March, The New Criterion published “A Cleaner Slate”—my review of four exhibitions of abstract painting: “Paul Mogensen” at Blum & Poe, Los Angeles, “Gerhard Richter: Cage Paintings” at Gagosian, Beverly Hills, “Stanley Whitney: How Black is That Blue” at Matthew Marks, Los Angeles and “Jim Isermann: Hypercube” at Praz-Delavallade, Los Angeles.
Tags:
abstraction,
Blum & Poe,
Gagosian Gallery,
Gerhard Richter,
Jim Isermann,
Matthew Marks,
painting,
Paul Megensen,
Praz-Delavallade,
Stanley Whitney,
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Posted on December 2, 2019, 7:28 AM, by jfriedman, under
Wayne Thiebaud.
Wayne Thiebaud is about to reveal his most recent body of work: a selection of paintings and drawings from the new clown series will be on view starting December 8th at the Paul Thiebaud Gallery in San Francisco. In conjunction with the exhibition, The New Criterion just published “There ought to be clowns,”—a new article I […]
About four years ago, Wayne Thiebaud, the nonagenarian painter best known for his still lifes and landscapes, began to depict what he calls “clown memories.” These works in progress presently include approximately fifty paintings, twenty drawings, and six etchings. They are a response to the outside world, as well as another new segment in Thiebaud’s decades-long […]
If we take Henri Matisse’s famous assertion that art should be something like a good armchair in which to rest from physical fatigue at face value, we might end up with something approaching the “happy [x]” philosophy of Bob Ross, whose message was perfectly suited for television—the medium which help to spread it. I discuss […]
A couple of months ago I came across a fascinating little book published by Frieze in 1998. It was a bibliography intended to help young artists to become better young artists. The material was solicited from a few dozen art world people (artists, critics, curators) by Jerry Saltz, who also edited the volume. The same […]
Tags:
art world,
books,
Charles Ray,
Cindy Sherman,
Dave Hickey,
David Batchelor,
David Sylvester,
Ed Ruscha,
Elizabeth Peyton,
Hilton Als,
Jeff Koons,
Jeremy Golbert-Rolfe,
Jerry Saltz,
Kara Walker,
Laura Owens,
Luc Tuymans,
Matthew Barney,
Nancy Spector,
Paul Schimmer,
Peter Doig,
Peter Plagens,
Peter Schjeldahl,
Pulitzer Prize,
Rachel Whiteread,
Raymond Pettiblon,
Robert Storr,
Rony Horn,
The New Criterion,
Vito Acconci,
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