Boston Well before 9/11, Heide Fasnacht was drawing…see the full review in September’s magazine.
Richard Swanson
Helena, Montana The 13-foot-tall “three-dimensional ink drawings”…see the full review in September’s magazine.
“The Comeback Exhibition”
New Orleans The gallery literature for “The Comeback Exhibition”…see the full review in September’s magazine.
Whitney Biennial
New York The 2006 Whitney Biennial resembled one…see the full review in September’s magazine.
Cornelia Parker
San Francisco During a 1997 residency at ArtPace in…see the full review in September’s magazine.
Robert Rauschenberg: A New Sculptural Idiom
Robert Rauschenberg’s Combines, created between 1954 and 1964, were revolutionary in the history of art. Leo Steinberg called them a “shift from nature to culture,” and his characterization is still the most successful critical description. Others have discussed the works as collages, grids, “definitive incongruity,” and “relaxed symmetry.”
David Eckard: The Object as Diary
Just before leaving his studio in Portland, Oregon, for a four-month residency in France at the Pont Aven School of Art last year, David Eckard worked feverishly to finish the sculptures—or “objects,” as he calls them—for his fall exhibition at the Manuel Izquierdo Gallery at the Pacific Northwest College of Art.
Elizabeth Turk: The Collars
With The Armory Show and its cousin once-removed, the Whitney Biennial, now in the recent past, what remains standing in the memory? For this viewer, several works about town, most especially Elizabeth Turk’s exhibition at Hirschl & Adler Modern, palliated an acute case of Stendhal syndrome and restored faith in art’s ability to be meaningful
Rath Around the House (The Greats of Rath)
We gave our Doberman to my sister-in-law the other day. Her kids had always loved Orenthal. Besides, “Juice” had gone docile on us over the last decade, his sentry instincts replaced by drooling and excessive gas.
