The pictures look good here, as Abbott's did at Marlborough, but in both cases it's not quite art photography. It's just a difference in era, subject, and photographic technology of course medium format photos from the '30s are stiffer than '60s photojournalism. It's driving me nuts.ĭanny Lyon - American Odyssey: Birmingham to Bernalillo - Edwynn Houk - ***Ī little more dynamic than the Berenice Abbott Greenwich Village show, but no less literal.
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The closest I got was a series of Guston drawings from around 1960 that I like a lot, but I don't think that's it either. The tiny, meticulous strokes create a tension by suggesting spatial depth, like he intuitively follows the building up of forms into an unconscious illusionism, and I can almost see the other painting it makes me think of in my head. The one to the right of the entryway that's just behind you as you walk in reminds me so specifically of some other abstract artist, but I can't place it. After the turn of the century he seized the opportunity to do a straight AbEx revival, and these late works have a great, mature control of form, color, gesture, and indeed, scale. Those are forbiddingly chaotic, tending towards memories of the murky colors you get from mixing all your fingerpaints together, but I get it, that's when abstraction itself had a major anxiety of influence and direction, you couldn't just do Joan Mitchell anymore. I don't know how convinced I'd be if this was an exhibition at a smaller scale, or if it was only the '80s-'90s works. with planes of solid colors instead of a flat churning mass, and the later work that's lighter and more driven by gestural brushstrokes that ends up somewhere near a really good imitation of, say, Joan Mitchell). long painting is so outlandish that you can't even accuse it of big for the sake of bigness), the explosive color, the physical amount of paint and junk on the canvas, the range of styles (all pretty standard ab fare: mixed media 3D impasto slop in the '80s and '90s, one exception with some Guston-y cartoon shapes that isn't as fundamentally about paint as material and texture, i.e. The number of paintings, the size of the paintings (the 40 ft. Jesus fucking Christ, talk about maximalism! The scale, in every sense, is crucial here. Larry Poons - The Outerlands - Yares Art - **** Theodor Adorno - Aesthetic Theory - *****Īndrea Fraser: Collected Interviews 1990-2018 1Įmily Segal - Mercury Retrograde (The Question of Coolness) Gerhard Richter Marian Goodman & Lise Soskolne Svetlana, Park McArthur Essex Street, The Cleaners of Mars Reena Spaulings - Addendum: Notes on Psychedelic ArtĬoncerning Superfluities Essex Street vs.
Isa Genzken Galerie Buchholz, Art Club2000 Artists Space, Jef Geys Essex Street In Search of the Worst Painting on the Lower East Side
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But as Piranesi explores, evidence emerges of another person, and a terrible truth begins to unravel, revealing a world beyond the one Piranesi has always known.įor readers of Neil Gaiman's The Ocean at the End of the Lane and fans of Madeline Miller's Circe, Piranesi introduces an astonishing new world, an infinite labyrinth, full of startling images and surreal beauty, haunted by the tides and the clouds.The Manhattan Art Review's Best & Worst Art Shows of 2022 There is one other person in the house-a man called The Other, who visits Piranesi twice a week and asks for help with research into A Great and Secret Knowledge. But Piranesi is not afraid he understands the tides as he understands the pattern of the labyrinth itself. Within the labyrinth of halls an ocean is imprisoned waves thunder up staircases, rooms are flooded in an instant. Piranesi's house is no ordinary building: its rooms are infinite, its corridors endless, its walls are lined with thousands upon thousands of statues, each one different from all the others.
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