A Book Nominally about Rubens Offers an Honest Portrait of the Way the Author’s Mind Works—and Sometimes Doesn’t
Morgan Meis doesn't make points so much as bellow them with varying levels of coherence.
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Giorgio Griffa’s 1990s Paintings Possess a Nervous Energy—Much Like the Decade Itself
Griffa's 1990s paintings hint at something not necessarily good that is yet to come.
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An Exhibition of Works on Paper Shows the Power of an Old-Fashioned Medium
Making art out of fragile, resilient paper in some sense means making art about fragility and resilience.
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Jutta Koether’s Paintings Are Clever and Achingly Cool—But Can They Do More?
The paintings in Jutta Koether's recent exhibition at Lévy Gorvy were cooler than you, quicker than you, smarter than you, better read than you, and not afraid to let you know.
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Kevin Jerome Everson’s Timely Films Explore the Skills Involved in “Unskilled” Labor
The recent showing of Kevin Jerome Everson's work at Andrew Kreps coincided perfectly with the revival of a national conversation involving the clumsy euphemisms of labor—"essential" versus…
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The Top Ten Streaming Films About Artists
Some are works of fiction, some are ostensibly nonfiction, but all ten, without preciousness or corniness, present artistry as a kind of unsolvable riddle.
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Is Peter Saul’s Gross-Out Painting Political?
Peter Saul is an utterly feverish colorist, heir to Bacon and Delacroix, and you can't help but admire his tense, syncopated compositions. But his style is so given to extremes that, almost by…
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In David Reed’s New Abstract Paintings, Motion Registers as Stasis
David Reed's brushstrokes, or what look like brushstrokes, race over the canvas with such speed, or what looks like speed, that they achieve a smooth, opaque stasis.
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Rashid Johnson and the Age of Broken Men
Faces jumped out of his collages and tile mosaics, whether I was looking for them or not. The more crudely sketched they were, the more unexpected and powerful was my twinge of recognition—more…
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Emmet Gowin’s Photographs of the Nevada Test Site Capture a Beauty That Cannot be Domesticated by Art
Emmet Gowin's aerial photographs of landscapes evoke the apocalypse. Shot in high-contrast black-and-white and rarely printed larger than a foot square, they avoid the easy grandiosity of their…
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