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☆ After 70 Years, Si Lewen’s Wrenching ‘Parade’ Marches On
▼ + stars: | 2024-04-18 | by ( Will Heinrich | ) www.nytimes.com time to read: 1 min

At the very beginning of Si Lewen’s “The Parade,” the series of untitled antiwar works on artist’s board that forms the pulsing heart of a new exhibition curated by the cartoonist Art Spiegelman, four sketchy, ecstatic boys and girls stride into the endless possibility of unmarked white gesso. In the second panel, a family leaning out their window catches sight of someone waving a flag. The flag itself is also faint and white, but the family is surrounded by an ominous black shadow. And as that single flag turns into a parade, and the parade acquires rifles, swords, black banners and German helmets, Lewen’s painting and drawing — he made “The Parade” around 1950 with a mix of crayon, ink, paint and graphite — gets denser and darker.

Persons: Art Spiegelman

☆ Robert Moskowitz, Abstract Painter of New York’s Skyscrapers, Dies at 88
▼ + stars: | 2024-03-28 | by ( Will Heinrich | ) www.nytimes.com time to read: 1 min

Robert Moskowitz, a painter who used the New York City skyline to stake out a unique position on the border of abstraction and representation, died on Sunday in Manhattan. His son, Erik Moskowitz, said the cause of death, at a hospital, was complications of Parkinson’s disease. Mr. Moskowitz first came to broad notice with collagelike paintings in which he glued window shades to canvases that had been painted various shades of off-white. Some of these works, which evoke stripped-down Rauschenbergs, were exhibited in the 1961 Museum of Modern Art show “The Art of Assemblage.” He later made a series of similar collages with envelopes. From the mid-1960s into the ’70s, after an interlude painting Surreal interiors, Mr. Moskowitz settled on views of empty corners, which again flirted with the limits of legibility — they were usually one color, sometimes even black on black.

Persons: Robert Moskowitz, Erik Moskowitz, Moskowitz, legibility — Organizations: Modern Locations: York City, Manhattan, legibility

☆ When ‘Giants’ Roam the Museum Halls
▼ + stars: | 2024-02-07 | by ( Will Heinrich | ) www.nytimes.com time to read: +1 min

What you think of it really depends on what you’re asking for. If you view the painting as a Venti-size iteration of Wiley’s ongoing project, his decades-long attack on the paucity of Black faces in Western museums and art history, it’s one-note but hard to argue with. Brightly colored and thoughtfully composed, it’s visually appealing, and even today, when it’s no longer so uncommon to see Black figures on museum walls, catching sight of one this big still elicits a thrill. On the other hand, considered strictly as a painting, “Femme Piquée par un Serpent” (“Woman Bitten by a Serpent”) doesn’t offer that much. It’s simply the adept illustration of an idea.

Persons: Swizz Beatz, Alicia Keys, Auguste Clésinger Organizations: Giants, Art, Brooklyn Museum

☆ A Rare Appearance for ‘Six Persimmons,’ a 13th-Century Masterpiece
▼ + stars: | 2023-11-21 | by ( Will Heinrich | More About Will Heinrich | ) www.nytimes.com time to read: +2 min

It also illustrates just about any Buddhist concept you would care to name. Its six gray bubbles could stand for teardrops, living cells or even six planets as much as they do for astringent autumn fruit. In other words, they evoke the endless, thoroughly interconnected multiverse that is present everywhere and in every moment. These handles descend to foreshortened X’s of leaves that, along with the fruits’ subtle but unmistakable highlights, create the picture’s unique perspective. But you could just as well see them hanging in the air from some invisible branch, inhabiting the flatter, more vertical space of a Chinese landscape.

☆ Juanita McNeely, Intense Artist of the Female Experience, Dies at 87
▼ + stars: | 2023-11-02 | by ( Will Heinrich | More About Will Heinrich | ) www.nytimes.com time to read: +1 min

Juanita McNeely, an uncompromising painter who used the language of Expressionism to immortalize the sweetest and most brutal moments of her own female experience, died on Oct. 18 in Manhattan. Her death, at Lenox Hill Hospital, was confirmed by her husband and only immediate survivor, Jeremy Lebensohn. But the most searing single piece might have been her record of the fragmentary details — emotional as well as physical — of an abortion she underwent in the 1960s. She had been admitted to a hospital for treatment of a tumor when doctors discovered she was pregnant. She eventually did receive the procedure she needed, at a different hospital — but the experience left marks.

Persons: Juanita McNeely, Jeremy Lebensohn, McNeely’s Organizations: Lenox Hill Hospital Locations: Manhattan, Lenox

☆ Art Shows and Exhibitions to See This Fall
▼ + stars: | 2023-09-04 | by ( Will Heinrich | More About Will Heinrich | ) www.nytimes.com time to read: +1 min

A blockbuster meetup of Manet and Degas, an unprecedented retrospective for Ed Ruscha and a once-in-a-lifetime chance to see an 800-year-old ink painting that has never before left Asia — the new season of museum shows is full of heart-stoppers. A new gallery devoted to plaster is set to open at the Museum of Modern Art, too, and drawing shows are everywhere, from Hanne Darboven in Texas to Stéphane Mandelbaum in New York. SeptemberONLY THE YOUNG: EXPERIMENTAL ART IN KOREA, 1960s-1970s Coming of age in a rapidly changing country, postwar Korean artists innovated without fear. Organized with the National Museum of Modern and Contemporary Art in Seoul, this show is slated to travel on to the Hammer in Los Angeles. (Sept. 1-Jan. 7, 2024; Solomon R. Guggenheim Museum)JA’TOVIA GARY: THE GIVERNY SUITE A Black feminist angle on art history — and on Monet’s famous gardens at Giverny, France — in a newly acquired video installation.

Persons: Manet, Degas, Ed Ruscha, Hanne Darboven, Stéphane Mandelbaum, Ruth Asawa, Michelangelo, Asawa, Solomon R, GARY Organizations: Museum of Modern, Whitney Museum of American, Francisco’s Legion, Honor, National Museum of Modern, Art, Guggenheim Museum, Modern, of Fine Arts Locations: Asia, Texas, New York, KOREA, Seoul, Los Angeles, Giverny, France, Houston

In order to face either one head on, you must stand on a small, uneven platform of homemade adobe bricks. This is a message from the artist: He’s not interested in a seamless viewing experience. It recalls his contribution to the 2017 Whitney Biennial, where he created a room of adobe bricks. Here, a winding path of bricks connects life-size portraits of members of esparza’s largely queer community. The paintings are also on adobe, referencing his Mexican heritage and accentuating his subjects’ brown skin.

Persons: rafa esparza’s, He’s, JILLIAN STEINHAUER Organizations: Art Basel Miami Beach, Biennial Locations: Los Angeles, New York

☆ Ebony G. Patterson Brings a Crowd to the New York Botanical Garden
▼ + stars: | 2023-06-15 | by ( Will Heinrich | ) www.nytimes.com time to read: +1 min

They all read as more or less black, particularly when viewed in groups. But layers of glitter, whitish stains and their exact siting amid the floral light and shadow give each a subtly different chromatic effect. Patterson, 42, who lives and works between Kingston, Jamaica, and Chicago, has taught and exhibited widely in the United States. She also talks about vultures as caretakers, indispensable parts of a natural world that includes death, decay and extinction. Whether standing alone or in bustling groups of up to 30, as though engaged in contentious debate, the vultures seem to inhabit spaces you wouldn’t have noticed.

Persons: Patterson Locations: Kingston , Jamaica, Chicago, United States

Almost any of the 16 Giorgio de Chirico paintings in “Horses: The Death of a Rider” could sustain an exhibition by itself. A couple from the late 1920s are less polished, and you could reasonably call “Two Horses on a Seashore,” 1970, a little glib. As the exhibition title suggests, every canvas also holds one or more horses, often backed by one of the mysterious landscapes he’s known for. The majestic white steed in the title piece, “Death of a Rider,” rears up on a twilit beach, letting its rider tumble off like Icarus behind it. In the distance stands a city on a hill; nearby, two voyagers or gods watch from a rowboat.

Persons: Giorgio de Chirico, de Chirico, It’s, Chirico, ”, HEINRICH

☆ Kusama Takes On the Infinite With a Sly Wink
▼ + stars: | 2023-05-17 | by ( Will Heinrich | ) www.nytimes.com time to read: +1 min

Once a high-profile fixture of the 1960s New York avant-garde, Yayoi Kusama has long since become an icon, in the sense of a visually recognizable brand. Like Coca-Cola, it also goes with anything: A recent collaboration with Louis Vuitton even included Instagram and Snapchat filters. The downside of being a brand might be a certain predictability. Each partial circle is hard against an edge, so that, with its reflection, it appears whole. Among other things, this means that your gaze doesn’t pause at the edge, instead gliding painlessly right into the mirror world.

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