Ceramics in the Expanded Field: The Art World, the Clay World, and the Case for John Mason
Let’s suppose that ceramic art, done by artists who were clay handlers before anything else, got accepted as sculpture proper – that and nothing…
Read MoreClement Greenberg
The Politics of Color in Kristine Moran
It’s tempting to consider Kristine Moran’s most recent work as a pivot-point in an ascendency from abstraction to figuration. Figures, indeed, are emerging from…
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In Search of Himself: Sky Glabush’s Mimetic Practice Drifts Into the Neo-Modernist Trend
“Artists don’t own the meaning of their work.” New York Times critic Roberta Smith issued this controversial and affecting line to a full auditorium…
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Friends Among Us: Reflections on the Value and Risk of Nepotism in Art
Corazon del Sol had just arrived in Lisbon, to an apartment she left in the early 2010s, not long after losing someone close. She…
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Tools for Redress: A Century of Political Art Between “Zero Tolerance” and “The Left Front”
In the fall of 1929, the same month as the collapse of the American stock market, editors from the leftist magazine New Masses met…
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Retrospective: Pollock in LIFE
Journalists follow a time-tested format. An example of this occurs in what is perhaps the most important article about art published in any magazine,…
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The Anxiety of Influence: Jack Bush at the National Gallery
“I feel sorry for Jack Bush,” said an artist acquaintance of mine when I told him about the National Gallery of Canada’s recent, excellent…
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