«Doug Argue» Gallery Show & Artist Talk with Donald Kuspit at Marc Straus
Gallery Art critic Donald Kuspit will be in conversation with artist Doug Argue, on the occasion of Argue's first solo show with the gallery.
Not exact matches
According to his website, both the owner of the
gallery that displayed the painting and the Los Angeles Times
art critic who reviewed it were dead within one year of the exhibit.
The fun side of going to the National
Gallery is simply that everyone gets to be a
critic here; whether you love
art, or hate it, you can bond over it!
Two wonderful cameos by Jason Schwartzman as the owner of a high end North Beach
gallery and Terence Stamp as New York Times
art critic John Canaday reveal the gatekeepers to be exactly who they were — and primarily still are — self - important men who delight in throwing their weight around.
Features commentary by film noir historian Alan K. Rode, who hosts the track and provides most of the production comments, and
critic / noir maven (and fellow MSN writer) Kim Morgan, who chimes in for color commentary (and an obsessive appreciation of the pickle that J. Carrol Naish chomps in an early scene; Kim, sometimes a pickle is just a pickle) plus a
gallery of stills and advertising
art.
On a whim, he declares that he painted the children with the oversized eyes, and the lie spirals out of control until the paintings become a revolutionary, multi-million-dollar industry (much to the chagrin of an
art critic played by Terence Stamp and a
gallery owner played by Jason Schwartzman — two amusingly droll performances).
Effective side roles include those of Terence Stamp as the
art critic, Danny Huston as the reporter, Jon Polito as the night club owner, Jason Schwartzman as the owner of an
art gallery, James Saito as the judge in Honolulu's federal court, Madeleine Arthur as Margaret's teen daughter, and Krysten Ritter as Margaret's best friend DeAnn.
Special Features Audio commentary from 2002 featuring director Robert Altman and producer David Foster New making - of documentary, featuring members of the Cast and Crew New conversation about the film and Altman's career between film historians Cari Beauchamp and Rick Jewell Featurette from the film's 1970 production
Art Directors Guild Film Society Q&A from 1999 with production designer Leon Ericksen Excerpts from archival interviews with cinematographer Vilmos Zsigmond
Gallery of stills from the set by photographer Steve Schapiro Excerpts from two 1971 episodes of The Dick Cavett Show featuring Altman and film
critic Pauline Kael Trailer PLUS: An essay by novelist and
critic Nathaniel Rich
Jason Schwartzman, playing a bitterly sarcastic modern
art gallery owner, and the formidable Terence Stamp, an
art critic who savagely pans a special painting commissioned for the 1964 World's Fair, get perhaps a total of ten lines between the two of them, lighting up the screen with even the smallest sense of conflict that exists beyond the Keane household.
Some time ago, Brian Sherwin, a well known
arts blogger and
critic, did an interview here where he talked about how
art galleries will eventually have to embrace the Internet.
23:00 — How Richard has dealt with all of the
critics and
gallery owners heaping praise on him, and how that experience informs his
art.
As
art critic for Willamette Week, Portland's highly regarded alternative weekly newspaper, Speer has strolled through
galleries in and around the Oregon city for more than a decade.
A panel discussion titled The Abstract Image, moderated by
art historian and
critic Jennifer Samet, was held at the
gallery on February 28, 2016.
To me the
art world is galleries, museums, critics, collectors, art historians, and just plain serious art followers and buyers, those who go regularly to the Venice Biennale and Art Bas
art world is
galleries, museums,
critics, collectors,
art historians, and just plain serious art followers and buyers, those who go regularly to the Venice Biennale and Art Bas
art historians, and just plain serious
art followers and buyers, those who go regularly to the Venice Biennale and Art Bas
art followers and buyers, those who go regularly to the Venice Biennale and
Art Bas
Art Basil.
As an
art critic, Speer approaches
gallery exhibitions in two ways.
I think
critics like Cotter (in this instance) and Saltz (in many) spend too much time and ink bemoaning the vacuity of the
art and artists presented in Blue Chip spaces and too little time outside the borough of Manhattan writing about artists and
galleries that make and show sincere, good, and genuine work because they have to.
Painters» Table reaches a rapidly growing, focused audience of people who are passionate about painting and
art: artists,
galleries,
critics, collectors, teachers, and students.
Vehabović is among the most highly regarded young artist in Croatia having won First Prize for Zagreb Salon 2010, The International Association of
Art Critics (AICA) Award 2010, as well as an Essl Award in 2007, (Emerging Artists in Southeast Europe) 2010, and with solo exhibits in 2011 and 2013 at Lauba Museum in Zagreb, Kranjcar
Gallery, Zagreb (2011).
«For 25 years, the L.A. artist has been creating immersive video installations that appear to breach the contours of the
gallery, transporting viewers into other realities: swimming with dolphins, interacting with wolves or exploring the contaminated ruins of the Chernobyl nuclear power plant,» wrote
art critic Sharon Mizota in the Los Angeles Times.
Most of you are probably already aware that New York's favorite disgruntled
art critic, Jerry Saltz, spent last Sunday afternoon checking out the Bushwick
gallery scene
Former
art critic and dealer David Lewis opened his eponymous Lower East Side
gallery in 2013.
IN 1988 — Certificate of Excellence, New York ’88 International
Art Competition, Art Horizons Exhibition, Larchmont, NY 1986 — Certificate of Excellence, North Coast Collage Society Exhibition, Hudson, OH 1986 — Honorable Mention, Nepenthe Mundi Society Exhibition, Kansas City, MO 1986 — Certificate of Excellence, Metro Art International Exhibition, Greene Street Gallery, Scarsdale, NY 1986 — Favorable Review by art historian & New York Times critic Mr. Hilton Kramer, Ultrasound, R.H. Love Gallery, Chicago, IL 1985 — New Jersey Chapter Award, 2nd Place, American Artists Professional League Exhibition New York, NY 1985 — Personal invitation by internationally known modern master, Kenneth Nolan, to work on the installation of his show 1984 — MWS Letters Award, Midwest Watercolor Society, Neville Public Museum, Green Bay, WI 1983 — Internorth Foundation Award, Midwest Watercolor Society, Davenport Art Gallery, Davenport, IA 1982 — Daniel Smith Award, Midwest Watercolor Society, West Bend Museum of Art, West Bend,
Art Competition,
Art Horizons Exhibition, Larchmont, NY 1986 — Certificate of Excellence, North Coast Collage Society Exhibition, Hudson, OH 1986 — Honorable Mention, Nepenthe Mundi Society Exhibition, Kansas City, MO 1986 — Certificate of Excellence, Metro Art International Exhibition, Greene Street Gallery, Scarsdale, NY 1986 — Favorable Review by art historian & New York Times critic Mr. Hilton Kramer, Ultrasound, R.H. Love Gallery, Chicago, IL 1985 — New Jersey Chapter Award, 2nd Place, American Artists Professional League Exhibition New York, NY 1985 — Personal invitation by internationally known modern master, Kenneth Nolan, to work on the installation of his show 1984 — MWS Letters Award, Midwest Watercolor Society, Neville Public Museum, Green Bay, WI 1983 — Internorth Foundation Award, Midwest Watercolor Society, Davenport Art Gallery, Davenport, IA 1982 — Daniel Smith Award, Midwest Watercolor Society, West Bend Museum of Art, West Bend,
Art Horizons Exhibition, Larchmont, NY 1986 — Certificate of Excellence, North Coast Collage Society Exhibition, Hudson, OH 1986 — Honorable Mention, Nepenthe Mundi Society Exhibition, Kansas City, MO 1986 — Certificate of Excellence, Metro
Art International Exhibition, Greene Street Gallery, Scarsdale, NY 1986 — Favorable Review by art historian & New York Times critic Mr. Hilton Kramer, Ultrasound, R.H. Love Gallery, Chicago, IL 1985 — New Jersey Chapter Award, 2nd Place, American Artists Professional League Exhibition New York, NY 1985 — Personal invitation by internationally known modern master, Kenneth Nolan, to work on the installation of his show 1984 — MWS Letters Award, Midwest Watercolor Society, Neville Public Museum, Green Bay, WI 1983 — Internorth Foundation Award, Midwest Watercolor Society, Davenport Art Gallery, Davenport, IA 1982 — Daniel Smith Award, Midwest Watercolor Society, West Bend Museum of Art, West Bend,
Art International Exhibition, Greene Street
Gallery, Scarsdale, NY 1986 — Favorable Review by
art historian & New York Times critic Mr. Hilton Kramer, Ultrasound, R.H. Love Gallery, Chicago, IL 1985 — New Jersey Chapter Award, 2nd Place, American Artists Professional League Exhibition New York, NY 1985 — Personal invitation by internationally known modern master, Kenneth Nolan, to work on the installation of his show 1984 — MWS Letters Award, Midwest Watercolor Society, Neville Public Museum, Green Bay, WI 1983 — Internorth Foundation Award, Midwest Watercolor Society, Davenport Art Gallery, Davenport, IA 1982 — Daniel Smith Award, Midwest Watercolor Society, West Bend Museum of Art, West Bend,
art historian & New York Times
critic Mr. Hilton Kramer, Ultrasound, R.H. Love
Gallery, Chicago, IL 1985 — New Jersey Chapter Award, 2nd Place, American Artists Professional League Exhibition New York, NY 1985 — Personal invitation by internationally known modern master, Kenneth Nolan, to work on the installation of his show 1984 — MWS Letters Award, Midwest Watercolor Society, Neville Public Museum, Green Bay, WI 1983 — Internorth Foundation Award, Midwest Watercolor Society, Davenport
Art Gallery, Davenport, IA 1982 — Daniel Smith Award, Midwest Watercolor Society, West Bend Museum of Art, West Bend,
Art Gallery, Davenport, IA 1982 — Daniel Smith Award, Midwest Watercolor Society, West Bend Museum of
Art, West Bend,
Art, West Bend, WI
In 1991, I was 35 years old and coming off of a successful show at PPOW
Gallery when on the next to last day of the exhibition
art critic Roberta Smith wrote a negative review of the work in The New York Times.
David Anfam is an
art historian and
critic based in London, whose latest publication is Brice Marden: Ru Ware, Marbles, Polke (Matthew Marks
Gallery, New York, 2013).
2012 - Illinois State Museum (Chicago), some DIALOGUE, Chicago, IL - Governors State University — Visual
Arts Gallery, National Juried Exhibition: Ways of Making, Jurors: Aaron Ott (Curator) and Jason Foumberg (editor, columnist, freelance writer and
critic), University Park, IL - Matthew Marks
Gallery, WaterKeeper Alliance: ArtForWater Benefit — Auction, Hosted by Robert F. Kennedy, Jr. and Jeff Koons, New York, NY
Anthony Allen, Associate Director, Paula Cooper Natalie Bell, Assistant Curator, New Museum Heather Darcy Bhandari, Adjunct Lecturer, Visual
Art, Brown University Marina Chao, Assistant Curator, International Center of Photography Jean Cooney, Project Manager, Artist Commissions, Creative Time Sean Corcoran, Curator of Photographs and Prints, Museum of the City of New York Lisa Dent, Director of Resources & Award Programs, Creative Capital Kareem Estefan, Independent
Art Critic and Editor - at - large, Creative Time Reports Hitomi Iwasaki, Director of Exhibitions and Curator, Queens Museum Flora Katz, Independent Curator Theodore Kerr, Writer, Hyperallergic William Petroni, Managing Director, Cristin Tierney Gallery Heather Reyes, Exhibitions and Collection Manager, The Bronx Museum of the Arts Matthew Schum, Independent Curator Anthony Allen, Associate Director, Paula Cooper Marco Antonini, Executive Director, NurtureArt and Writer Mark Beasley, Curator, Performa George Bolster, The Shelley & Donald Rubin Foundation Gary Carrion - Murayari, Kraus Family Curator, New Museum Susan Cross, Curator, Mass MoCA Clément Delépine, Assistant Curator, Swiss Institue Bridget Donahue, Owner / Director, Bridget Donahue Gallery Lisa Dent, Director of Resources & Award Programs, Creative Capital Elizabeth M. Grady, PhD, Programs Director, A Blade of Grass Stamatina Gregory, independent curator and critic Janice Guy, Owner, Murray Guy Nicole Hayes, Curator, The Fields Sculpture Park, Art Omi Amanda Hunt, Assistant Curator, Studio Museum Alexis Johnson, Associate Director, Paula Cooper Ruba Katrib, Curator, Sculpture Center Vitaly Komar, Artist Melanie Kress, High Line Art Curatorial Fellow, High Line Art Thomas Lax, Associate Curator in the Department of Media and Performance Art, MoMA Barbara London, Independent Curator, formerly of MoMA Matthew Lyons, Curator, The Kitchen Julie McKim, Curator, Galapagos Christiane Paul, Curator of New Media, Whitney Museum Christian Rattemeyer, The Harvey S. Shipley Miller Associate Curator, Department of Drawings and Prints, MoMA Sara Reisman, Artistic Director, The Shelley & Donald Rubin Foundation Magda Sawon, Owner, Postmasters Nato Thompson, Chief Curator, Creative Time Nat Trotman, Associate Curator, Guggenheim Museum Eugenie Tsai, John and Barbara Vogelstein Curator of Contemporary Art, Brooklyn
Critic and Editor - at - large, Creative Time Reports Hitomi Iwasaki, Director of Exhibitions and Curator, Queens Museum Flora Katz, Independent Curator Theodore Kerr, Writer, Hyperallergic William Petroni, Managing Director, Cristin Tierney
Gallery Heather Reyes, Exhibitions and Collection Manager, The Bronx Museum of the
Arts Matthew Schum, Independent Curator Anthony Allen, Associate Director, Paula Cooper Marco Antonini, Executive Director, NurtureArt and Writer Mark Beasley, Curator, Performa George Bolster, The Shelley & Donald Rubin Foundation Gary Carrion - Murayari, Kraus Family Curator, New Museum Susan Cross, Curator, Mass MoCA Clément Delépine, Assistant Curator, Swiss Institue Bridget Donahue, Owner / Director, Bridget Donahue
Gallery Lisa Dent, Director of Resources & Award Programs, Creative Capital Elizabeth M. Grady, PhD, Programs Director, A Blade of Grass Stamatina Gregory, independent curator and
critic Janice Guy, Owner, Murray Guy Nicole Hayes, Curator, The Fields Sculpture Park, Art Omi Amanda Hunt, Assistant Curator, Studio Museum Alexis Johnson, Associate Director, Paula Cooper Ruba Katrib, Curator, Sculpture Center Vitaly Komar, Artist Melanie Kress, High Line Art Curatorial Fellow, High Line Art Thomas Lax, Associate Curator in the Department of Media and Performance Art, MoMA Barbara London, Independent Curator, formerly of MoMA Matthew Lyons, Curator, The Kitchen Julie McKim, Curator, Galapagos Christiane Paul, Curator of New Media, Whitney Museum Christian Rattemeyer, The Harvey S. Shipley Miller Associate Curator, Department of Drawings and Prints, MoMA Sara Reisman, Artistic Director, The Shelley & Donald Rubin Foundation Magda Sawon, Owner, Postmasters Nato Thompson, Chief Curator, Creative Time Nat Trotman, Associate Curator, Guggenheim Museum Eugenie Tsai, John and Barbara Vogelstein Curator of Contemporary Art, Brooklyn
critic Janice Guy, Owner, Murray Guy Nicole Hayes, Curator, The Fields Sculpture Park,
Art Omi Amanda Hunt, Assistant Curator, Studio Museum Alexis Johnson, Associate Director, Paula Cooper Ruba Katrib, Curator, Sculpture Center Vitaly Komar, Artist Melanie Kress, High Line
Art Curatorial Fellow, High Line
Art Thomas Lax, Associate Curator in the Department of Media and Performance
Art, MoMA Barbara London, Independent Curator, formerly of MoMA Matthew Lyons, Curator, The Kitchen Julie McKim, Curator, Galapagos Christiane Paul, Curator of New Media, Whitney Museum Christian Rattemeyer, The Harvey S. Shipley Miller Associate Curator, Department of Drawings and Prints, MoMA Sara Reisman, Artistic Director, The Shelley & Donald Rubin Foundation Magda Sawon, Owner, Postmasters Nato Thompson, Chief Curator, Creative Time Nat Trotman, Associate Curator, Guggenheim Museum Eugenie Tsai, John and Barbara Vogelstein Curator of Contemporary
Art, Brooklyn Museum
April 20, 2015 — New York: The International Association of
Art Critics / USA announces its 32nd annual awards to honor artists, curators, writers, museums and
galleries in recognition of excellence.
Abstraction, New Observations, June 1984, No. 24 1984 Is Abstract Painting Regaining its Popularity by Victoria Donohoe, Philadelphia Inquirer, September 14, 1984 1983 Ted Stamm by Sanford Kwinter,
Art In America, January 1983, pp. 121-122 1983 Ted Stamm by Stephen Westfall,
Arts Magazine, January 1983, p. 3 1983 Ted Stamm at the Far Turn by William Zimmer, Re-Dact 1 by Peter Frank, Published by Willis Locker and Owens, ISBN 093027900X 1982 Ted Stamm,
Art Economist, Volume II, No. 14, December 31, 1982, p. 5 1982 Drawing Invitational 1981 by Geynne Vernet,
Arts Magazine, February 1982 1982 Two Unprovincial Shows at the Jersey City Museum by Vivien Raynor, The New York Times, New Jersey supplement, October 10, 1982, p. 28 1981 Ted Stamm by Valentine Tatransky,
Arts Magazine, February 1981, pp. 35 - 36 1981 Surely Temple Black by William Zimmer, SoHo Weekly News, February 18, 1981, p. 49 1981 Abstraction with a Relaxed Air by David L. Shirey, The New York Times, March 1, 1981, p. 19 1981 Ted Stamm by Tiffany Bell,
Arts Magazine, May 1981, p. 8 1981 From the General to the Particular: Some Thoughts on Abstract Painting by Tiffany Bell,
Arts Magazine, June 1981, pp. 120-124 1980 Tre Amerikaner i Skaane by by Sune Nordgren, Dagens Nyheter (Stockholm), May 5, 1980 1980 Pool Documentation by Kay Larson, Village Voice, June 2, 1980, p. 85 1980 Jane Highstein and Sensibility Minimalism: A Tissue of Happenstance by Robert Pincus - Witten,
Arts Magazine, October 1980 p. 140 1980 La Nouvelle Vogue New Yorkaise est Portee Para La Musie Rock by Daniel Cornu, Tribune De Geneve, December 1980 School's Out by William Zimmer, The SoHo Weekly News, June 11, 1980, p. 61 1980 Old Wine, New Bottles, Bad Year by John Perreault, The SoHo Weekly News, June 18, 1980 1979 Ted Stamm by December Kur, Handelsblatt (Dusseldorf), March 3,1979, p. 21 1979 Entries: Styles of Artists and
Critics by Robert Pincus - Witten,
Arts Magazine, November 1979, pp. 127 - 28 1979 Where is New York by Peter Frank, ARTnews, November 1979, pp. 59 - 65 1978 Ted Stamm by Tiffany Bell,
Arts Magazine, February 1978, pp. 33 - 34 1978 Ted Stamm by Edit De Ak, Artforum, February 1978, pp. 63 - 64 1978 Artful Dodger by Gerald Marzorati, SoHo Weekly News, May 18, 1978, 10 1978 Pittori di New York by Riccardo Guarneri, Visual, April - May 1978, No. 2 - 3, pp. 40 - 43 1978 Ted Stamm at Hal Bromm
Gallery by Peter Frank, Village Voice, December 19, 1977, pp. 93, 98 1977
Arts and Leisure Guide by Ann Barry, New York Times, November 27, 1977 1977 Voice Choices by Ali Anderson, Village Voice, December 12, 1977, p. 59 1977 New Museum at the New School by Peter Frank, Village Voice, December 19, 1977, p. 98 1976 Ted Stamm by Barbara Catoir, Das Kunstwerk, January 1976, p. 64 1976 Alternative
Arts Spaces: One to one politics for the avant - garde by Stephen Reichard, New York Downtown Manhattan, Akademie Der Kunste - Berliner Festwochen, September 1976, p. 249 1975 Reviews by Susan Heineman, Artforum, March 1975, pp. 62 - 63 1975 Artists Space by Trudie Grace,
Art Journal, Summer 1975, XXXIV / 4, pp. 323 - 326.
The artist was chosen as the third Whitechapel
Gallery Art Icon by a panel of art experts chaired by Iwona Blazwick, including Stephen Deuchar, Director, The Art Fund; Ann Gallagher, Director of Collections (British Art), Tate; and Jackie Wullschlager, Chief Art Critic, The Financial Tim
Art Icon by a panel of
art experts chaired by Iwona Blazwick, including Stephen Deuchar, Director, The Art Fund; Ann Gallagher, Director of Collections (British Art), Tate; and Jackie Wullschlager, Chief Art Critic, The Financial Tim
art experts chaired by Iwona Blazwick, including Stephen Deuchar, Director, The
Art Fund; Ann Gallagher, Director of Collections (British Art), Tate; and Jackie Wullschlager, Chief Art Critic, The Financial Tim
Art Fund; Ann Gallagher, Director of Collections (British
Art), Tate; and Jackie Wullschlager, Chief Art Critic, The Financial Tim
Art), Tate; and Jackie Wullschlager, Chief
Art Critic, The Financial Tim
Art Critic, The Financial Times.
Critic's Picks is a new column featuring stand out art gallery shows in New York City, selected and reviewed by critic, curator
Critic's Picks is a new column featuring stand out
art gallery shows in New York City, selected and reviewed by
critic, curator
critic, curator and...
«Painterly Pasted Pictures» an exhibition of 20th century painters of collage curated by E. A. Carmean Jr. @ Freedman
Art, New York, NY 2013 «Color & Edge» with Lauren Olitski Poster and Ann Walsh @ Sideshow
Gallery, Brooklyn, NY 2012 «Extreme Possibilities: New Modernist Paradigms» The Painting Center, NYC, NY curated by Karen Wilkin 2009 «Direct Sculpture: A Dialogue in Polymers», Student Union
Gallery, Univ. of Massachusetts Amherst, Amherst, MA 2006 «Greenberg in Syracuse; Then and Now», Company
Gallery, ThINC, Syracuse NY 2005 «Studies in Abstraction: Lauren Olitski, Susan Roth, and Ann Walsh», curated by Wendy S. Evans, Student Union
Gallery, Univ. of Massachusetts, Amherst, 2005 «Rural Artists / Urban Sensibilities», C. W. White
Gallery, Portland ME 2003 «The Clement Greenberg Collection», Joe & Emily Lowe
Gallery, Syracuse, NY 2003 «Clement Greenberg, A
Critic's Collection», Portland
Art Museum, Portland, Oregon 2001 «The Mirvish Teaching Collection», Agnes Ethrington
Gallery, Queens University, Kingston, Ont.
Piri Halasz, From the Mayor's Doorstep http://www.pirihalasz.com/blog.htm?post=907117 Nancy Keefe Rhodes Exhibition Catalogue Limestone
Art Gallery, 2010 Karen Wilkin «Extreme Possibilities: New Modernist Paradigms» The Painting Center 2009 Katherine Rushworth, «The Call of Canastota» Central New York Magazine, May / June 2009 Sonja Freidman, «Susan Roth» La Palabra Isrealita, Santiago, Chile 2009 Clement Greenberg, «Interview with Clement Greenberg, (reprinted from, Susan Roth, A Minotaur Production: video Reader's Digest Foundation, 1988)», Direct Sculpture; Dialogue in Polymers, catalogue to the exhibition, UMass / Amherst 2006 J. R. Hughto «The Mirror Eye» documentary video 2005 Allen M. Jones «The Prescience of a Cranky
Critic» L.A. Times 2004 Donald Kuspit, «A Critic's Collection», ArtNet, 2001 Karen Wilkin, «Clement Greenberg: a critical eye», Clement Greenberg, a critic's collection, Princeton
Critic» L.A. Times 2004 Donald Kuspit, «A
Critic's Collection», ArtNet, 2001 Karen Wilkin, «Clement Greenberg: a critical eye», Clement Greenberg, a critic's collection, Princeton
Critic's Collection», ArtNet, 2001 Karen Wilkin, «Clement Greenberg: a critical eye», Clement Greenberg, a
critic's collection, Princeton
critic's collection, Princeton Univ..
He was
art critic for The New York Sun (2003 — 2008) and
gallery director at the New York Studio School (2001 — 2010).
Karen Wilkin, «Greenberg and the Syracuse Artists», The Mirror Eye, Clement Greenberg in Syracuse, catalogue to the exhibition, Greenberg in Syracuse, Then and Now, May / June 2005, Syracuse, NY Suzanne Shane, «Greenberg in Syracuse, Then And Now», The Mirror Eye, Clement Greenberg in Syracuse, catalogue to the exhibition, Greenberg in Syracuse, Then and Now, May / June 2005, Syracuse, NY Clement Greenberg, «Interview with Clement Greenberg», Direct Sculpture; Dialogue in Polymers, catalogue to the exhibition, UMass / Amherst 2006 Robert Morgan, Clement Greenberg, Late Writings, University of Minnesota Press 2003 Donald Kuspit, «A
Critic's Collection», Artnet.com, August 3, 2001 Karen Wilkin; Bruce Guenther, Clement Greenberg A
Critic's Collection, Princeton University Press 2001 «Recontre avec Darryl Hughto, L'mour de la matiere», Pratique Des
Arts, no. 36 Fevrier - Mars 2001 Michael Ennis, «Long on
Art», Architectural Digest, May 1996 Dodie Kazanjian, «On Target», Vogue, February 1990 Karen Wilkin, «At the Galleries», Partisan Review, no. 2, 1989 Grace Glueck, «1 + 1 on Madison, Couples Show Adds Up», The New York Times, Feb. 17, 1984 Valentin Tatransky, «The Art of Painting; Jules Olitski, Lawrence Poons, and Darryl Hughto», Arts Magazine, May 1983 Terry Fenton, Darryl Hughto, Recent Paintings, Catalogue to the exhibition, The Edmonton Art Gallery, November 1981 Karen Wilkin, «The New Generation; A Curator's Choice», art magazine, May / June 1981 Ken Carpenter, «New Abstract Art», art magazine, May / June 1981 Stephen Pentak, «Darryl Hughto», Arts Magazine, May 1981 Vivien Raynor, «Darryl Hughto», The New York Times, May 30, 1980 Kenworth Moffett, The New Generation; A Curator's Choice, Rhineburgh Press, NY, 1980 Ken Carpenter, Darryl Hughto, catalogue to the exhibition, Meredith Long Contemporary, NY, 1980 John Russell, «The 20th Century at the Met», The New York Times, August 12, 1979 Suzanne Shane, «Darryl Hughto», 57th Street Review, Feb. 1976 Ken Carpenter, «Third Generation Abstraction: Darryl Hughto», Arts Magazine, Feb. 1975 James Harithas, Notes on Darryl Hughto, Catalogue to the exhibition, Everson Museum, Mar. 1
Art», Architectural Digest, May 1996 Dodie Kazanjian, «On Target», Vogue, February 1990 Karen Wilkin, «At the Galleries», Partisan Review, no. 2, 1989 Grace Glueck, «1 + 1 on Madison, Couples Show Adds Up», The New York Times, Feb. 17, 1984 Valentin Tatransky, «The
Art of Painting; Jules Olitski, Lawrence Poons, and Darryl Hughto», Arts Magazine, May 1983 Terry Fenton, Darryl Hughto, Recent Paintings, Catalogue to the exhibition, The Edmonton Art Gallery, November 1981 Karen Wilkin, «The New Generation; A Curator's Choice», art magazine, May / June 1981 Ken Carpenter, «New Abstract Art», art magazine, May / June 1981 Stephen Pentak, «Darryl Hughto», Arts Magazine, May 1981 Vivien Raynor, «Darryl Hughto», The New York Times, May 30, 1980 Kenworth Moffett, The New Generation; A Curator's Choice, Rhineburgh Press, NY, 1980 Ken Carpenter, Darryl Hughto, catalogue to the exhibition, Meredith Long Contemporary, NY, 1980 John Russell, «The 20th Century at the Met», The New York Times, August 12, 1979 Suzanne Shane, «Darryl Hughto», 57th Street Review, Feb. 1976 Ken Carpenter, «Third Generation Abstraction: Darryl Hughto», Arts Magazine, Feb. 1975 James Harithas, Notes on Darryl Hughto, Catalogue to the exhibition, Everson Museum, Mar. 1
Art of Painting; Jules Olitski, Lawrence Poons, and Darryl Hughto»,
Arts Magazine, May 1983 Terry Fenton, Darryl Hughto, Recent Paintings, Catalogue to the exhibition, The Edmonton
Art Gallery, November 1981 Karen Wilkin, «The New Generation; A Curator's Choice», art magazine, May / June 1981 Ken Carpenter, «New Abstract Art», art magazine, May / June 1981 Stephen Pentak, «Darryl Hughto», Arts Magazine, May 1981 Vivien Raynor, «Darryl Hughto», The New York Times, May 30, 1980 Kenworth Moffett, The New Generation; A Curator's Choice, Rhineburgh Press, NY, 1980 Ken Carpenter, Darryl Hughto, catalogue to the exhibition, Meredith Long Contemporary, NY, 1980 John Russell, «The 20th Century at the Met», The New York Times, August 12, 1979 Suzanne Shane, «Darryl Hughto», 57th Street Review, Feb. 1976 Ken Carpenter, «Third Generation Abstraction: Darryl Hughto», Arts Magazine, Feb. 1975 James Harithas, Notes on Darryl Hughto, Catalogue to the exhibition, Everson Museum, Mar. 1
Art Gallery, November 1981 Karen Wilkin, «The New Generation; A Curator's Choice»,
art magazine, May / June 1981 Ken Carpenter, «New Abstract Art», art magazine, May / June 1981 Stephen Pentak, «Darryl Hughto», Arts Magazine, May 1981 Vivien Raynor, «Darryl Hughto», The New York Times, May 30, 1980 Kenworth Moffett, The New Generation; A Curator's Choice, Rhineburgh Press, NY, 1980 Ken Carpenter, Darryl Hughto, catalogue to the exhibition, Meredith Long Contemporary, NY, 1980 John Russell, «The 20th Century at the Met», The New York Times, August 12, 1979 Suzanne Shane, «Darryl Hughto», 57th Street Review, Feb. 1976 Ken Carpenter, «Third Generation Abstraction: Darryl Hughto», Arts Magazine, Feb. 1975 James Harithas, Notes on Darryl Hughto, Catalogue to the exhibition, Everson Museum, Mar. 1
art magazine, May / June 1981 Ken Carpenter, «New Abstract
Art», art magazine, May / June 1981 Stephen Pentak, «Darryl Hughto», Arts Magazine, May 1981 Vivien Raynor, «Darryl Hughto», The New York Times, May 30, 1980 Kenworth Moffett, The New Generation; A Curator's Choice, Rhineburgh Press, NY, 1980 Ken Carpenter, Darryl Hughto, catalogue to the exhibition, Meredith Long Contemporary, NY, 1980 John Russell, «The 20th Century at the Met», The New York Times, August 12, 1979 Suzanne Shane, «Darryl Hughto», 57th Street Review, Feb. 1976 Ken Carpenter, «Third Generation Abstraction: Darryl Hughto», Arts Magazine, Feb. 1975 James Harithas, Notes on Darryl Hughto, Catalogue to the exhibition, Everson Museum, Mar. 1
Art»,
art magazine, May / June 1981 Stephen Pentak, «Darryl Hughto», Arts Magazine, May 1981 Vivien Raynor, «Darryl Hughto», The New York Times, May 30, 1980 Kenworth Moffett, The New Generation; A Curator's Choice, Rhineburgh Press, NY, 1980 Ken Carpenter, Darryl Hughto, catalogue to the exhibition, Meredith Long Contemporary, NY, 1980 John Russell, «The 20th Century at the Met», The New York Times, August 12, 1979 Suzanne Shane, «Darryl Hughto», 57th Street Review, Feb. 1976 Ken Carpenter, «Third Generation Abstraction: Darryl Hughto», Arts Magazine, Feb. 1975 James Harithas, Notes on Darryl Hughto, Catalogue to the exhibition, Everson Museum, Mar. 1
art magazine, May / June 1981 Stephen Pentak, «Darryl Hughto»,
Arts Magazine, May 1981 Vivien Raynor, «Darryl Hughto», The New York Times, May 30, 1980 Kenworth Moffett, The New Generation; A Curator's Choice, Rhineburgh Press, NY, 1980 Ken Carpenter, Darryl Hughto, catalogue to the exhibition, Meredith Long Contemporary, NY, 1980 John Russell, «The 20th Century at the Met», The New York Times, August 12, 1979 Suzanne Shane, «Darryl Hughto», 57th Street Review, Feb. 1976 Ken Carpenter, «Third Generation Abstraction: Darryl Hughto»,
Arts Magazine, Feb. 1975 James Harithas, Notes on Darryl Hughto, Catalogue to the exhibition, Everson Museum, Mar. 1973
ART CRITIC JERRY SALTZ recently expressed his frustration with Gagosian, Pace, Hauser & Wirth and David Zwirner galleries in New York magazine, describing the four mega dealers as overwhelming behemoths causing much consternation in the art wor
ART CRITIC JERRY SALTZ recently expressed his frustration with Gagosian, Pace, Hauser & Wirth and David Zwirner
galleries in New York magazine, describing the four mega dealers as overwhelming behemoths causing much consternation in the
art wor
art world.
In 2013 the
gallery opened an additional 7000 sq ft Chicago venue whose inaugural exhibition, Roxy Paine's Apparatus, was selected by The International Association of Art Critics as the Best Show in a Commercial Gallery Nati
gallery opened an additional 7000 sq ft Chicago venue whose inaugural exhibition, Roxy Paine's Apparatus, was selected by The International Association of
Art Critics as the Best Show in a Commercial
Gallery Nati
Gallery Nationally.
On May 10 at 7 pm, novelist and
art critic Jim Lewis will present a talk about Auerbach's work at the
gallery (please RSVP to the
gallery if you want to attend the lecture.)
Moderator Irving Sandler,
art historian and
critic, in conversation with artists Lois Dodd and Philip Pearlstein, will reflect on their early days at the Tanager
Gallery.
Art historian and
critic, Norman Rosenthal, discusses Newport Street
Gallery's new exhibition Jeff Koons: Now
AWARD / HONOR April 20: The International Association of
Art Critics / USA announces its 32nd annual awards honoring artists, curators, writers, museums and
galleries in recognition of excellence in 2014.
Artist - in - Residence, 68projects, Berlin, Germany (Summer 2014) Artist in Residence, Santa Fe
Art Institute (2013) Teaching
Art Center College of Design, Professor in the Fine
Art Department, 2011 - Present UCLA School of
Art and Architecture, Visiting Professor of Painting, 2012 - 3 California State University Long Beach, Guest
Critic / Visiting Artist Lecture, 2012 Otis College of
Art and Design, Guest
Critic MFA Fine
Art, 2008 - 2010
Gallery Representation
Participants: Holland Cotter,
art critic, The New York Times; Thelma Golden, director of the Studio Museum in Harlem; Pamela Joyner, San Francisco art collector; Jack Shainman, New York gallery director; and Franklin Sirmans, director, Pérez Art Museum Mia
art critic, The New York Times; Thelma Golden, director of the Studio Museum in Harlem; Pamela Joyner, San Francisco
art collector; Jack Shainman, New York gallery director; and Franklin Sirmans, director, Pérez Art Museum Mia
art collector; Jack Shainman, New York
gallery director; and Franklin Sirmans, director, Pérez
Art Museum Mia
Art Museum Miami.
117 2014 — The Figure: Painting, Drawing and Sculpture — Contemporary Perspectives, Skira Rizzoli 2014 — Visual Intelligence, Catalog Essay, Accesso Galleria Pietrasanta 2014 — Review: David Humphrey, ARTPULSE, NO. 21, Vol 5, 2014 2014 — MFA Catalog Intro, New York Academy of
Art 2013 — Living and Sustaining a Creative Life: Essays by 40 Working Artists, Intellect Books, p. 152-156 2013 — Urbanfuse Berlin, Catalog Essay, Janine Bean
Gallery 2013 — From Beijing, Catalog Intro, New York Academy of
Art 2013 — Wildscapes, Mario Davalos, Book Prologue 2006 — Low, Dishonest Times, In Conversation, Laurence Hegarty, Cynthia Broan
Gallery 2006 — Uprising, Catalog Essay, LMCC / Parsons The New School For Design 2005 — Primed, Catalog Essay, Parsons The New School 2005 — Stories, Amy Bennett, Catalog Essay, Linda Warren
Gallery 2003 — The Burbs, Catalog Essay, DFN
Gallery 2003 — Articulation and Iconography, Bryan LeBoeuf, Catalog Essay, FishTank
Gallery 2003 — Ceramics
Art and Perception, Referencing, Susan Budge, Issue 53 2003 — Reconstruction, Space Invaders, Catalog Essay, FishTank
Gallery 2001 — Manchildren, Mark Mennin, Catalog Essay, Howard Yezerski
Gallery 1987 - 88 — Flash
Art Magazine, NY Staff
Critic, Two Exhibition Reviews Monthly 1986 — Flash
Art Magazine, Published Interview with Ross Bleckner
The End of
Art, 2006, shows Ben - Tor doing a wicked impersonation of the artist Rirkrit Tiravanija discussing his notorious practice of cooking Thai food in galleries and museums, and an opinionated art critic discussing her powerful objectivi
Art, 2006, shows Ben - Tor doing a wicked impersonation of the artist Rirkrit Tiravanija discussing his notorious practice of cooking Thai food in
galleries and museums, and an opinionated
art critic discussing her powerful objectivi
art critic discussing her powerful objectivity.
If you stop in to see «Younger than Jesus,» the New Museum's first triennial survey of new
art from around the world, check out «Wiser than God,» May 27 - July 27, 2009, an exhibition organized by
art critic Adrian Dannatt at the BLT
Gallery, located across the street.
Roberta Smith, the co-chief
art critic, regularly reviews museum exhibitions,
art fairs and
gallery shows in New York, North America and abroad.
Expect a chic evening with collectors, curators,
art critics and artists while enjoying • Hosted Hors d'oeuvres by Chef Gwen Kenneally • Mixed Cocktails (Full open bar) • Live Music Performances and sets by the hottest Hollywood area DJs • Unique Exclusive VIP entry for AC
Gallery After Hours Party at undisclosed Sunset Blvd location Admission fee - $ 20
The Turner prize was created in 1984 and initially was open to anyone working in the
arts, including
critics, curators and
gallery directors.
A range of texts about Riley's original and enduring practice grounds and contextualizes the images, including new scholarship by
art historian Richard Shiff, texts on both the artist's wall paintings and newest body of work by Paul Moorhouse, Twentieth - Century Curator at the National Portrait
Gallery in London, and a 1978 interview with Robert Kudielka, her longtime confidant and foremost
critic.
Some two decades later, however, the age - old medium is now experiencing a veritable resurgence as it once again fills
galleries, museums, and
art fairs (not to mention the eyes of
critics and the walls of collectors).