City of Gold: Tomb and Temple in Ancient CyprusBy Alana Shilling-Janoff
Just how evocative can a material object be, really? Can it recover forgotten places, call back lost time and make us understand the unfamiliar? The answer to these questions, respectively, is an uncategorical Very and a hesitant Perhaps, but not as much as you might think.
Metonymy, Mortality, and Wang Kepings WomenBy Alana Shilling-Janoff
Its theme might be older than the Venus of Willendorf, but Women proves that the female form can simultaneously reference tradition and cast it aside for an aesthetic suspended between rusticity and urbanity.
Traylor in Motion: Wonders from New York Collections and Bill Traylor: Drawings from the Collections of the High Museum of Art and the Montgomery Museum of Fine ArtsBy Alana Shilling-Janoff
His graphite seems enchanted: the simultaneous embrace of two-dimensionality and rejection of linear perspective unfolds sentiment without sentimentality.
Poetics of the UnpromisingBy Alana Shilling-Janoff
When an exhibition titled Tempus Fugit surfaces, it would seem wise to gird the loins for another pageant of pretension that aspires to the hermetic yet achieves only self-parody.
New Jersey as Non-SiteBy Alana Shilling-Janoff
The island of Atlantis, domesticated by sober laws of longitude and latitude, has seemingly shaken off the musk of legend. It lies off the coast of Africa, cradling the continents curve from Morocco to Senegal.
Myths of Eden and Gauguins MetamorphosesBy Alana Shilling-Janoff
For those hoping to wander through galleries laden with the Tahitian reveries and thinly veiled Gallic indiscretions formed by the jewel-conjuring palette of Paul Gauguin (1848 1903), the Museum of Modern Arts Gauguin: Metamorphoses might prove a tremendous disappointment.
A HUMAN KIND OF HOLINESS
By Alana Shilling-Janoff
It is fitting that the Bonni Benrubi Gallery’s curators eschewed modern languages, reaching back instead to Koine Greek for tà hierá (roughly, “sacred things”), the title of the current group exhibition of 17 photographs by seven artists.
JOHN WALKER: Recent PaintingsBy Alana Shilling-Janoff
In an epistle from his Cézanne Letters, poet Ranier Maria Rilke, caught between rapture and melancholy, marveled over the chance discovery of page-pressed sprigs of heather redolent of the scent of autumn earth Containing depth the grave almost
BEAUTIES UNINTENTIONAL, ACCIDENTAL ISABEL NOLAN An Answer About the SkyBy Alana Shilling-Janoff
Isabel Nolans An Answer About the Sky, on view at the Sean Kelly Gallery (September 13 October 18, 2014), is a history of the virtues of accident and error that unfolds in 14 works across media including paintings, sculptures, a rug, and a series of reflections authored by Nolan herself in prose that is both limpid and lyrical.
PAUL KLEE AND THE NAKED PERHAPS: Making VisibleBy Alana Shilling-Janoff
The fretful, glaucous coils resolve themselves into form against an otherworldly charcoal-colored background, a gouache mist. The unearthly quality of the scene finds a formal counterpart in the composition, as the indeterminacy of streaming lines suggests figures; one defies the viewer with its vulpine gaze.
JORINDE VOIGT Codification of Intimacy: Works on Nikolas LuhmannBy Alana Shilling-Janoff
It is a curious matter when an exhibition engages the mind with dexterity and arouses an emotional response not at all. That, at least, is the predicament countenanced by German-born artist Jorinde Voigts current exhibition.
STRANGE INTIMACIESBy Alana Shilling-Janoff
He deftly forges strange, vicarious intimacies between viewers and the unlikely subjects of his paintingsfrom giants and insecure grasshoppers to an entire cast of fretting fowl.
WILLEM VAN GENK Mind TrafficBy Alana Shilling-Janoff
Willem van Genk: Mind Traffic, the American Folk Art Museums current exhibition of 43 works by the Dutch artist, which range from large-scale paintings and collages, to an installation of the artists prized raincoats, is an historical victory, a correction of a curious oversight in the art historical annals of U.S. institutions.
ADRIAN GHENIE Disturbing Dichotomies and New PaintingsBy Alana Shilling-Janoff
It is impossible to categorize the curious pleasure that emerges when our most complacent knowledge is challenged.
By Alana Shilling-Janoff
Art, Improbability, and Jean Dubuffets Excursions en no mans space
It is ironic that discourse about Jean Dubuffet, that notorious rebel of art-land, is so often script-like, resembling ritualized narrative, as if convention could make it possible to contain the complexities of a titan.
Love For SaleBy Alana Shilling-Janoff
Valentines Day has come early to Chelseain a love poem of an exhibition at the David Zwirner gallery. Showcasing recent works by Japanese artist Yayoi Kusama, I Who Have Arrived in Heaven consumes all three of the gallerys West 19th Street locations and will continue to do so through December 21, 2013.
DOUG ARGUE Artspeak and The Art of TranslationBy Alana Shilling-Janoff
Once upon a time, Arthur Danto proclaimed the death of grand narratives that defined art movements and pronounced contemporary art beyond the pale of history, bereft of a unifying narrative.
POIGNANCY ON VIEW Giosetta Fioroni: LArgentoBy Alana Shilling-Janoff
Novelty consorts with nostalgia, fashioning the enchanted atmosphere that suffuses the Drawing Centers latest exhibition.
CHRISTOPH SCHLINGENSIEF Now and ThenBy Alana Shilling-Janoff
Too often, activist art is charged with an urgency its very ephemerality bestows upon it, lingering only so long as its context permits, and doomed to an afterlife as dated social commentary.
ALLEN GINSBERG Losing Sight, Coming into Focus: Beat MemoriesBy Alana Shilling-Janoff
Some exhibitions command attention through historical significance; others by sheer power of artistic expression.
By Alana Shilling
Art and the Predicament of Emotional Exposure
It is a Saturday afternoon in April, 2009. Visitors flow through the Metropolitans Bonnard exhibition like a restrained fluvial event. Its not really in fashion to approve of Bonnard too strongly these days. But suddenly, amidst those straggling final frames of the show, was that self-portrait.