Tag: Brice Marden

  • 7 Days: Larry Gagosian, Art’s Bad Boy

    When Adam Moss stepped down as editor of New York magazine last month, it marked the end of an era. Since taking the helm of the august title in 2004, Moss had helped set the industry standard for magazine journalism, documenting the life of the city in all its highbrow, lowbrow, brilliant, and despicable glory.  Of course, […]

  • Chuck Close

    “I am tired of looking at myself; why do I keep doing self-portraits?” This from Chuck Close at the beginning of Chuck Close: An Elegant Portrait of the Art World’s Leading Portraitist, and it’s a question—and a tension—that keeps great artists toiling their entire lives. Director Marion Cajori began working on this documentary in 1993, […]

  • No More Drama

    The funny thing about minimalism is its endless variety: Like “realism,” the term is so abstract and subjective as to be practically meaningless. We can agree that a Brice Marden monochrome appears minimalist next to a still life by Chardin. But when a film as rich in character, feeling, and visual interest as Pedro Costa’s […]

  • Watermelon-Eating Contest!

    Habitués of the Tsai Ming-liang oeuvre more or less know what to expect of The Wayward Cloud, the latest exercise in long-take lassitude, deadpan existentialism, and inscrutable water metaphors from the most obsessively consistent of contemporary filmmakers. Less predictably, the film’s belated New York release—it opens at Anthology Film Archives a full two years after […]

  • The Brice Is Right

    Over the last 40 years, the painter Brice Marden has been photographed wearing funny hats, wielding stick-like paintbrushes in his studios, sitting on Cézanne’s tomb, or occupying some breathtaking piece of real estate that he owns. Whether meant ironically or romantically, these photos have helped people think of Marden as some rock star shaman–Zen master–saint […]

  • Mr. System and Dr. Death

    Luc Tuymans’s work can be romantic and repetitious; his enthrallment with hot-button subjects can make him seem opportunistic; some of his latest paintings lack ambiguity. Even so, Tuymans deserves tremendous credit for a farsighted decision he made 25 years ago that not only changed his art but altered the way painting looks and is talked […]

  • Out of Line

    A funny thing happened to me in James Siena’s sweetheart of a drawing show. Two things, really. The first, which occurred about 20 minutes into my initial visit, sounds insulting but has to do with the apparent artlessness and simplicity of Siena’s work. The second, which I’ll get to shortly, actually happened at home two […]

  • Good on Paper

    A good half of “Drawing Now: Eight Propositions” stands as a rebuttal to those who say contemporary art is in the dumps. It is proof that large-scale surveys don’t have to be bland, preachy, or prim. In spite of some mediocre stretches, a vexing lack of color, an underlying dryness, overcrowding, and almost no abstraction […]

  • Circuit Party

    Brice Marden’s two-gallery show—his first exhibition of new paintings in New York in five years, and his best since 1991, if not since the mid 1970s—proves once again that this artist is a special case. In a time that is skeptical of straightforward abstraction, Marden’s work is widely loved. The advertisements and announcements that have, […]

  • Supernatural Thing

    “The serpent beguiled me, and I did eat.” With these words, Eve snitched on the snake. Ever since, this wiggly reptile has had a bad rep—at least in the Judeo-Christian world. As the evil power responsible for the fall, in Western art serpents symbolize the devil. Saint Patrick got a day named after him for […]