While it’s too soon to call it timeless, the vitality in Philip Guston’s art has proved durable. But the structure around it – the “art world” in its blinkered, stultified form, institutional and academic in the worst senses of those words – has died and encased it.
The quilts serve as landmarks whose significance is evolving with shifting times and demographics. Where have we come from, they ask. Where are we going? The answers are no longer what they were.
I recommend this show for Lucian Freud’s highly polished craftsmanship, but his wry game of psychological hide-and-seek is not all that satisfying.
Almost every painting here is a discovery worth making.
In Garciela Iturbide’s photographs, the living and the dying are often joined at the (exposed) skeletal hip.
How palpable is the combat in Nowhere to Hide!
The tap challenge, sometimes good natured, sometimes prickly, is at the heart of both of these remarkable documentaries.
What follows is a succession of images and tableaux static enough to make Michelangelo Antonioni look like an action-movie director.
A face-off between these two artists is ridiculous because picking a favorite is pointless.
Matisse said his objects were his “working library,” sources to mine for formal qualities and their ability to evoke an emotional response.