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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.
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.
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.
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.
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.
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.
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
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.
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.
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.
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 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.
It is impossible to categorize the curious pleasure that emerges when our most complacent knowledge is challenged.
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.
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.
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.
Novelty consorts with nostalgia, fashioning the enchanted atmosphere that suffuses the Drawing Centers latest exhibition.
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.
Some exhibitions command attention through historical significance; others by sheer power of artistic expression.
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.