The slapdash brushwork of Gabriel Madan’s work suggests a personal but ultimately fleeting investment in his subjects. The style and content are both Pop but not too Pop - an oddball mix of semi-famous celebrities and obscure kitsch. By loosely hand-painting...
It’s rare to encounter a Warhol exhibition with something genuinely new to say, but somehow Lifetimes (a co-production of Tate Modern, Museum Ludwig, Art Gallery of Ontario, and Aspen Art Museum — its only U.S. venue) accomplishes it. Thanks to both the thoughtful...
As the room unfolds before a viewer’s eyes there is a veritable procession of numbers going from one to nine through all the gyrations of being outlined, filled in or partially obscured. It is as though the sequence of this set of well-known forms is taken...
Like many Pre-Millennial truths that were once irrefutable, the adage, “Don’t judge a book by its cover” is waning into obsolescence. After all, what is the utility of a book cover in the era of e-books that claim neither form nor substance? In his exhibition...
Jeff Koons consumes five floors for the Whitney’s last show on Madison Avenue, and no wonder. Surely the artist who installed a giant floral poodle twice in Rockefeller Center can fill every nook and cranny. No one else takes such pains to rub in the obvious, to...
Fischli and Weiss are up to some elaborate shenanigans. Walking in from the street, under the severe brow created by the Ellsworth Kelly block style building-remake of the Matthew Marks Gallery façade, a viewer might think that they were accidentally let in between...
In the city of the dubious “angel” we all embrace our icons, whether dead or alive, real or imagined. And if not all the time, then certainly when they deliver to us a newly birthed, risky body of work. Ed Moses has done just that with “New Works: The Crackle...
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