WHAT IS THERE TO SEE?
By Yve-Alain Bois
On a Painting by Ad Reinhardt
The title caption is inscribed on the back of the painting in Reinhardt's own hand, "Abstract Painting Number 87."
Time is (Not) MoneyBy Amy Knight Powell
Despite Reinhardts own celebrations of timelessness, critics recognized the importance of time to looking at his paintings. It takes time for the subtle differences of the black paintings in particular to emerge.
Reinhardt and the Picture PlaneBy Jeremy Gilbert-Rolfe
At some time in the 80s I gave a lecture about American painting between the world wars at a space the Whitney Museum had on Wall Street, where they put on shows and had people come and give talks at lunchtime.
Remembering ReinhardtBy Charles Carpenter
I was baffled. I saw only black paintings. I could not figure out the enthusiasm. That worried me, because I knew that others were seeing something in those pictures which I did not.
The Radicality of ReinhardtBy Jeffrey Weiss
The stunning extremism of Reinhardts late work signifies a radical attenuation of the pictorial and material means of post-Cubist abstraction.
CatalystBy David Raskin
What I like best about Ad Reinhardt’s polychromatic black paintings is how they turn me on.
Ad Reinhardt and the Whiteness of the WhaleBy Carter Ratcliff
In Chapter 42 of Moby Dick, Ishmael arrives by apprehensive steps at a disquieting thought: the whiteness of the whale makes tangible the deathly void that lurks beneath the worlds appearances.
Ad Reinhardt: Unvirtual ImagesBy Pepe Karmel
Like a procession of Japanese monks with black robes and shaven heads, the 13 late paintings by Ad Reinhardt circle a large white room at David Zwirner Gallery.
Indivisibility UndoneBy Bradford K. Epley
The black paintings that left Reinhardt’s studio in the final six years of his career maintained a fragile material and visual equilibrium, easily marred by routine handling that would leave traditionally painted canvas unharmed.
Ad Reinhardts Black Paintings: A Matter of TimeBy Arden Reed
What everybody knows about Ad Reinhardt, even if they know nothing else: his black paintings take a long time to see.
A Tale of Two (Black) Squares: Reinhardt, Stella, and IrwinBy Rosalind Krauss
I came to the 60s late, and from out of town. So The Jewish Museum’s Toward a New Abstraction and the Modern’s “Americans 1963,” both of which opened in the spring of 1963, were news to me.
Pictures of One ThingBy Barry Schwabsky
Did Reinhardt really believe that the art he called for could exist, that the museum he called for could exist, that the academy he called for could exist?
The Art of SeeingBy Carol Stringari
If Reinhardt’s black paintings are often difficult to grasp as a spectator, the surface of these paintings are even more problematic for the conservator whose mandate is to maintain their pristine quality.
Reinhardts Black Paintings: A Psychoanalytic CritiqueBy Donald Kuspit
Expressionism and surrealism is always fake, art as something else is always fake, Reinhardt wrote, but his abstract art is paradoxically and subliminally expressionistic and surrealistic, which doesnt make it fake.
The Black PaintingsBy Barbara Rose
I met Ad Reinhardt in 1962, after returning from a Fulbright in Spain. Seeing Ads work, and spending time with him, was significant to the development of my early career.
Art of Life of ArtBy Ad Reinhardt
How to get ahead and keep one's head above hot water in the art whirl.
Shape? Imagination? Light? Form? Object? Color? World?By Ad Reinhardt
Published in Prophetic Voices: Ideas and Words on Revolution. Ed. Ned OGorman (New York: Random House, 1969).
The Next Revolution in Art
By Ad Reinhardt
(Art-as-Art Dogma, Part II)
The next revolution in art will be the same, old, one revolution.