Peter Walsh
While American art grew bolder, larger, louder, and more ironic, David Aronson was mystical, introspective, and poetic.
Biographer Annie Cohen-Solal is perhaps strongest on one thread of Mark Rothko’s narrative: his experience as a Jewish immigrant.
The photographer and the exhibition both make much of his outsider status and radical departure from the classic, reserved aesthetics of American art photography.
Some of J.M.W. Turner’s most personal, experimental, and enigmatic works have been selected for this show. They are also among the most fragile and least often shown.
His art’s sunny, unhurried elegance, so at odds with its message, suggests that Finlay is taking a Swiftian rhetorical stance.
How much can a “native” artist adopt from Western modernism before his arts loses its tribal identity and, along with it, its appeal to an outside market?
For once, in Ronald Reagan’s America, youthful talent and energy seemed able to trump everything else.
Chris Daze Ellis takes a serious risk. If you hang your work next to Berenice Abbott’s, it had better be as brilliantly framed, as firmly direct, and as perfectly focused as hers.
Rich as the material is, can any Blood Artist develop and mature by just seeing red?
The Annual Francis Davis Jazz Critics Poll at Mid-Year: Warming Up a Riff — How It Happened, and Why It Matters