Browse Recent Exhibition Reviews

Walking through the Ken Price retrospective at the Nasher Sculpture Center in Dallas, a line from Clement Greenberg’s 1955 essay “‘American-Type’ Painting” ran persistently through my head. Discussing Hans Hofmann, the painter perhaps most responsible for the critic’s analytic apparatus, Greenberg writes: “The difficult in art usually announces itself with less sprightliness” (Clement Greenberg, “‘American-Type’ Painting,” in The Collected Essays and Criticism, Volume 3: Affirmations and Refusals, 1950–1956, ed., John O’Brian, Chicago: University of Chicago Press, 1993, 223). “Sprightly” certainly describes the ceramic sculptures that crowd the Nasher’s upper and lower galleries. Smallish (except for two late bronzes), with… Full Review

When, in The London Quarterly Review of April 1857, Lady Elizabeth Eastlake wrote that photography’s “business is to give evidence of facts, as minutely and as impartially as, to our shame, only an unreasoning machine can give” (466), she voiced a widely held desire that photography would do two things: first, tell the truth; and second, liberate painting. Eastlake imagined photography’s contribution to art in terms of class, noting that, where once painting had dutifully devoted itself to verisimilitude, photography’s arrival had freed it from that responsibility. “The field of delineation,” she wrote, “having two distinct spheres, requires two distinct… Full Review

Hung Liu’s Offerings at the Mills College Art Museum and Summoning Ghosts at the Oakland Museum of California (OMCA) offer complementary but distinct selections of works, thus avoiding the potential redundancy of two closely timed exhibitions in Oakland, California. The more intimate exhibition Offerings showcases her explorations in installations that employ recurrent metaphors for journey. Contrastingly, Liu’s retrospective Summoning Ghosts nicely chronicles her evolving imagery and processes for more than twenty-five years. While Liu clearly possesses an affinity and dexterity with paint, more surprisingly, the exhibitions highlight her explorations in mixed media, shape, and installation. Additionally, the exhibitions’ complicated mix… Full Review

In January 2006, the Portland Museum of Art acquired Winslow Homer’s studio from the painter’s great-grandnephew. The studio sits above the water on Prouts Neck, a peninsula ten miles south of Portland that separates the northern edge of Saco Bay from Homer’s muse—the rocky, wave-beaten, and occasionally deadly coast of the Atlantic Ocean. During the past six years, with the assistance of architectural historians, engineers, and designers, the museum restored the studio to pristine condition. To celebrate the achievement, this past fall and winter the museum exhibited Weatherbeaten: Winslow Homer and Maine. Weatherbeaten features paintings, watercolors, prints, and… Full Review

To any student of art history for whom the painter Federico Barocci (ca. 1533–1612) had been relatively unknown—one of a shrinking demographic, perhaps, given the scholarly attention to post-Tridentine Italy and to Barocci specifically over the past twenty years—the Saint Louis Art Museum’s exhibition devoted to his artistic activity provided a thorough and visually splendid introduction. The exhibited works spanned almost his entire career, ranging from a compositional drawing (Staatsgalerie Stuttgart/Graphische Sammlung) for Barocci’s earliest extant painting, Saint Cecilia with Saints Mary Magdalen, John the Evangelist, Paul, and Catherine (ca. 1556) in the cathedral of Urbino, to late-career paintings of… Full Review

The Body Beautiful in Ancient Greece is an exhibition of about one hundred objects of Greco-Roman art drawn entirely from the collection of the British Museum. The show was in many ways welcome. Public displays of ancient art are in short supply on the West Coast north of Los Angeles, and the British Museum, of course, has one of the world’s great collections of this material. While most of the items included in The Body Beautiful are more often in the British Museum’s storerooms than their display vitrines, the exhibition was not without its stars, such as a red-figure kylix… Full Review

As one might expect, the retrospective exhibition of Roy Lichtenstein’s work at the National Gallery of Art is, quite literally, explosive. In spite of their familiarity, the bursts of color and graphism still manage to excite. The surprise of Lichtenstein’s technique and source material may have worn over time, but his oeuvre, laid out across fourteen rooms spanning three decades, offers new moments of revelation. Alongside the well-known cartoon melodramas of love and war are early abstractions in an imitative expressionist style; late, expansive canvases inspired by Chinese landscape painting; peculiar forays into a mock-Art Deco manner; and a vast… Full Review

Farewell to Surrealism: The Dyn Circle in Mexico at the Getty Research Institute aptly starts with an enlarged photograph of Wolfgan Paalen holding a recently painted portrait of André Breton. Standing in front of, but not at all blocking Breton’s enormous painted visage, Paalen stares expressionless at the camera. As the photograph intimates, Breton loomed large over Paalen’s artistic practice and his new community in Mexico, which he named the Dyn group, meaning Greek for “the possible.” Even though Paalen announced his farewell to Surrealism and to the tight strictures of Bretonian Surrealism in particular, it seems that he could… Full Review

A woodcut illustration of the known world spreads across two pages of the Liber Chronicarum, or Nuremberg Chronicle, printed in 1493. The edges of the map are held in place by Shem, Ham, and Japheth, the three sons of Noah who divided Asia, Africa, and Europe between them and repopulated the human race after the biblical Flood. In this representation, published four years before Vasco da Gama’s circumnavigation of the African continent, the true geographical shape of Africa remains undefined. On the page to the left are images of monstrous races that, according to both classical and Christian traditions… Full Review

Just before Christmas 1881, Vincent van Gogh took some of his studies to The Hague to show Anton Mauve, then a well-known painter (and his cousin by marriage). It was his first professional art criticism. As he later wrote to his brother, Theo, “When Mauve saw my studies, he said at once, ‘You are sitting too close to your model.’” No reference to this episode is made in the catalogue or labels for Van Gogh Up Close, but it seems to me quite revealing and pertinent to the theme of the exhibition. Less than a year into his… Full Review