Douglas Dreishpoon
Douglas Dreishpoon is Chief Curator Emeritus at the Albright-Knox Art Gallery and Director of the Catalogue Raisonné at the Helen Frankenthaler Foundation. Two books, Modern Sculpture: Artists in Their Own Words (University of California Press) and Helen Frankenthaler: Late Works, 1988–2009 (Radius Books), are forth- coming this fall.
In Conversation
KEN PRICE with Douglas Dreishpoon
Price’s unconventional sculpture captivated my imagination more than twenty years ago when I saw it in New York at the Willard Gallery on East 72nd Street: a tiny forest of finely sliced and brashly painted amorphic mounds, so outrageous and yet so right.
Creativity, Commerce, and the Elephant that Lingers in the Room
By Douglas DreishpoonThe lure of lucre means different things to different people, depending on who you are and who you aspire to be. When business and big money brand so many vectors of the cultural landscape, it’s refreshing to see market-elevated icons like Andy Warhol and Vincent van Gogh handled, as they are in Donna De Salvo’s Warhol retrospective at the Whitney Museum of American Art and Julian Schnabel’s new film, At Eternity’s Gate, in ways that restore their humanity by focusing on the art—where, how, and when it got made.
Elizabeth Murray: Back in Town
By Douglas DreishpoonMany archival gems are featured in Back in Town, the homecoming exhibition organized by Robert Scalise and Jason Andrew at the University of Buffalo’s Anderson Gallery.
Tobi Kahn: Formation: Images of the Body
By Douglas DreishpoonKahn has painted in the fertile gap between representation and abstraction for more than forty years: landscapes, seascapes, flowers, cells, and human bodies distilled into evocative images. An ethos unites Kahn with kindred modernists—Hilma af Klint, Kazimir Malevich and Wassily Kandinsky, Arthur Dove and Albert Pinkham Ryder, Rothko and Barnett Newman—who courted ambiguity as a pictorial language of equivalence.
