Not exact matches
Curiously some of the commercial galleries that represent the apotheosis of the contemporary
art industry and market, such as, here
in NY, Gagosian and Zwirner, have been able to mount museum quality shows the past few years, including for example excellent Picasso and Frankenthaler exhibitions at Gagosian and the recent exhibition of Ad Reinhardt's work at Zwirner,
in spaces that either are as beautiful as any museum or that are just
functional in a good
way, with few frills, just good walls and space.
Instead and pressingly, even with wild up and downs, flaws and all, the 2017 Whitney Biennial is the best of its kind
in some time for the multiple
ways it reveals how — selected as it is, without overdetermined political and aesthetic dogma, and curators remaining open to the exigencies of pleasure and the mysterious
ways that
art mutates but doesn't play catch - up — a show of artists simply at work, whether making expressionistic paintings, idiosyncratic
functional constructions, casting the further shores of socially activist conceptualism, or documenting collapsing ecosystems or family dynamics — that artists are always addressing and channeling issues of the day.
For years Matt Ritchie (who also uses the monicker Matt136) has created
art in every creative form ranging from ball point pen drawings and acrylic paintings all the
way to multi-layered
functional, layered wood clocks, weapons and «storytelling» furniture.