Art

The Modern High-Wire
June 18, 2010

Circus: The Photographs of Frederick W. Glasier is one of the most beautiful art books of recent years. The reproductions—large and lucid and presente

Sketchbooks
January 20, 2010

The most enduring myth about the Abstract Expressionists is that they were dumb geniuses, instinctual beings, know-nothings who somehow stumbled into

The Smartest Thing I've Read Today
September 16, 2009

Comes from the NYT's Mike Hale: The extended reaction to Mr. West’s deed certainly had something to do with a continuing national conversation about rudeness, whether to presidents, line judges or irritatingly successful country singers.

Wound in the Heart: Yet Another Casualty of the Spanish Civil War
August 20, 2009

 The Spanish Civil War was the iconic international struggle of the thirties. Franco and "los cuatro generales" were the villains. And the Spanish people were the victims. Their songs were our songs, Pete Seeger our medium. We did not travel to Spain; we boycotted Spain. We paid homage to Guernica by visiting Picasso's gruesome mural of that name at MoMA (and hanging posters of the painting in our dorm rooms.) We choked up whenever we saw Robert Capa's famous photograph "Falling Soldier." This was the first war against fascism, and democracy was defeated.

"Falling Soldier": A Different Kind Of Truth?
and
August 19, 2009

Yesterday The New York Times reported the latest in the ongoing debate over Robert Capa's "Falling Soldier," a war photo that has been accused of fabrication almost as much as it has been celebrated. David Thomson weighed in on the controversy in 2003, in a TNR piece called "I Leica Danger": It is possible that, having seen many people shot down and killed, Capa felt an intense urge to "get" such a moment. But then he realized the astonishing luck that this required--unless, truly, he was a camera that could take a picture as he saw a thing.

Generations
August 15, 2009

Picasso: Mosqueteros--Gagosian Gallery Younger Than Jesus--New Museum The Pictures Generation, 1974-1984--Metropolitan Museum of Art Compass in Hand--Museum of Modern Art The exhibition of Picasso's late work at the Gagosian Gallery this spring was a phenomenon. Day after day, Gagosian's huge space on West 21st Street attracted a remarkably heterogeneous public, a mix of artists, art students, Brooklyn hipsters, well-heeled professionals, and European and Asian tourists, gathered together in a way I do not recall seeing before, certainly not in Chelsea. People did not just come and look.

Generations
August 12, 2009

PICASSO: MOSQUETEROS GAGOSIAN GALLERY   YOUNGER THAN JESUS NEW MUSEUM   THE PICTURES GENERATION, 1974-1984 METROPOLITAN MUSEUM OF ART   COMPASS IN HAND MUSEUM OF MODERN ART   The exhibition of Picasso's late work at the Gagosian Gallery this spring was a phenomenon. Day after day, Gagosian's huge space on West 21st Street attracted a remarkably heterogeneous public, a mix of artists, art students, Brooklyn hipsters, well-heeled professionals, and European and Asian tourists, gathered together in a way I do not recall seeing before, certainly not in Chelsea.

The Spiritual In Art
February 18, 2009

Chagall and the Artists of the Russian Jewish Theater Jewish Museum Mystic Masque: Semblance and Reality In Georges Rouault McMullen Museum  I. THE WHEEL OF fashion, which turned Marc Chagall and Georges Rouault into has-beens a few decades ago, is turning again. These two misunderstood moderns are being taken seriously. The rise of identity politics in the intellectual world has certainly played a part.

Men at Arms
November 13, 2006

These are the first minutes of FLAGS OF OUR FATHERS, Clint Eastwood's new film about the battle of Iwo Jima in 1945. When word came of an Eastwood film on this subject, the blood didn't exactly freeze, but it did become tepid. Did the twenty-first century really need another gung-ho tale of World War II? Eastwood's reply is no. His film is crammed with physical horror and courage in crisis, but the intent is not mere replication of battle.

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