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Search resuls for: "More About Roberta Smith"


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A few years ago, the phrase “Dimes Square” began to flit around the art world. It had a youthful irreverence and seemed to be among those “if you know, you know” spots that only a few could point to on a map. But just before Christmas, I learned of a pop-up group show in a building known as 1 Ludlow on Dimes Square. A small starter gallery, it consists in its entirety of Tony Cox, an artist/dealer (and former pro skateboarder), and his small Canal Street loft nearby that since 2018 has served not only as his home-studio but also as his exhibition space. Cox was given the use of 1 Ludlow, a small building at the intersection of Dime Square’s main vectors — Ludlow Street, Canal Street and Division Street — in the loosely defined boundary of the Lower East Side and Chinatown.
Persons: , Ludlow, Tony Cox, Cox Locations: Lower, Side, Chinatown
If you ever took an art history survey in college, you may recall the blur of Fauvism. Fauvism, which lasted from about 1904 to 1908, is the first and probably the shortest of Modernism’s art movements. It is also one of the messiest, populated by a shifting cast of painters and locales. It lacks a manifesto or statement of goals, or even much stylistic coherence, and its tortuous buildup may have been longer than the trend itself. But in at least two ways the achievement of “les Fauves,” or “the wild beasts,” a term coined by the French critic Louis Vauxcelles — is foundational to modernist painting.
Persons: Picasso’s, Louis Vauxcelles —, Seurat, Cézanne, van Gogh Locations: French
It began with a sudden, breathtaking emergence over the trees to the south — a thousand points of blue light that expanded and dispersed into the sky. They organized into a kind of butterfly formation and set off in a northerly direction — and then the flotilla vanished, as if at the flip of a switch. Several beats later, it reappeared, to loud oohs and aahs from the crowd, as a stunning grid of white, pink and ruby luminosity. It took five years to cut through New York City red tape before the Dutch collective Drift could release its synchronized flock of 1,008 small, light-emitting drones above Central Park. But on Saturday night, there they were, making their debut over The Lake, in designated airspace, for nearly seven minutes: a murmuration rising, swooping, blinking and changing color to the delight of thousands of spectators who gathered for performances at 7, 8, and 9 p.m.
Organizations: New York City Locations: New York, Dutch
As long as there are artists like Henry Taylor around, painting is in little danger of dying. That is because Taylor, like most great painters, has reinvented the medium for his own purposes, reshaped it to his own particular needs. Those needs seem complex, encompassing and exceptionally empathetic. They are those of an ambitious artist attempting to give as full an account as he can of Black life in America, starting with his own, and spiraling out to family, friends and fellow artists (some of whom are white) as well as Black figures from politics and culture, and urgent issues like incarceration and racial violence. In “Henry Taylor: B Side,” a thrilling survey at the Whitney Museum, you will see paintings of the artist watching his toddler daughter feed herself; Barack and Michelle Obama sitting cozy on a couch; Philando Castile dying in his car after being shot by a Minneapolis policeman; a self-portrait based on a 16th-century portrait of King Henry V in profile wearing royal regalia; and the great Chuck Berry performing for a group of slightly dazed-looking white teenagers.
Persons: Henry Taylor, Taylor, “ Henry Taylor, Michelle Obama, Castile, King Henry V, Chuck Berry Organizations: Whitney Museum Locations: America, Minneapolis
That is, the four domed niches embedded in the neo-Classical facade of the Met’s main entrance on Fifth Avenue. Each niche frames a plinth and is in turn framed by a pair of robust columns two stories high. The three artists chosen thus far — Wangechi Mutu, Carol Bove and Hew Locke — have done well enough, but it may be best to lower expectations. The Met’s facade is an oppressive windmill to tilt at. All use the past to enliven the sculptural present, erase boundaries between styles and cultures and employ new materials and techniques.
Persons: Mutu, Carol Bove, Hew Locke —, Huma Bhabha, Leilah Organizations: Metropolitan Museum of Art, Center Locations: New York, Iranian, Berlin, Europe, Dallas
Some of that reshaping should also be evident in “Unnamed Figures: Black Presence and Absence in the Early American North,” at the American Folk Art Museum (Nov. 15-March 24, 2024). This landmark effort will explore Black visual culture in New England and the Mid-Atlantic states from 1780 to 1850 in a presentation of around 125 portrait and landscape paintings, photographs, prints, needlework and stoneware jars, along with a 300-page catalog. Two of the New York’s most cherished alternative spaces, both founded in 1972, are staging solo surveys of pioneering artists of different generations and distinctly dissimilar sensibilities. Tiravanija (born in 1961) threw down the gauntlet in the 1990s with SoHo gallery exhibitions in which he made and served pad Thai (1990, at Paula Allen) and Thai vegetable curry (1992, at 303 Gallery). Much followed in several different mediums, from T-shirts proclaiming “Fear Eats the Soul,” after Werner Fassbinder’s 1974 film, to chrome sculptures of furniture, with the best operating at the intersection of collective pleasure and political consciousness.
Persons: “ Rirkrit, Paula Allen, , Werner Fassbinder’s Organizations: American Folk Art Museum Locations: American, , New England, SoHo
One of the wisest, most beautiful and unsettling exhibitions in New York this summer is “Tuan Andrew Nguyen: Radiant Remembrance” at the New Museum, a show about coming to terms with the intergenerational trauma of war. Nguyen works in video and also makes art objects pertaining to them. Nguyen was born in Saigon, Vietnam, in 1976, and came to the United States with his family three years later. The artist’s first major exhibition in an American museum, “Radiant Remembrance,” has been organized by Vivian Crockett, a curator at the museum, and Ian Wallace, a curatorial assistant. Its video installations focus on people who live in the shadow of the two long wars for Vietnamese independence.
Persons: “ Tuan Andrew Nguyen, Nguyen, , Vivian Crockett, Ian Wallace Organizations: New Museum Locations: New York, Saigon, Vietnam, United States, Oklahoma , Texas, Southern California, Ho Chi Minh City
The David Kordansky Gallery has mounted a wonderful wormhole of an exhibition, “Doyle Lane: Weed Pots.” Its point of access is the small unassuming “weed pot,” a frequent accent in modern California interiors starting in the late 1950s. From this seemingly modest beginning, Lane (1923-2002), who was African American, created a dazzling universe of color, shape, texture and proportion. He also made ceramic tile, pendant jewelry, paintings and murals, but the “weed pot" is his signature. Kordansky’s generous display of 100 pots is Lane’s first solo show in New York. Lane didn’t invent the “weed pot,” but as this exhibition proves, he perfected it.
Persons: David Kordansky, “ Doyle, Lane Organizations: African Locations: California, African American, New York, El Sereno, East Los Angeles, Peru, China
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