Mimmo Rotella invented the technique of using torn posters to make art in the early 1950s. This technique, known as decollage, has subsequently been widely employed by innumerable artists world-wide, including, in recent years, the young Williamsburg artist, Michael Anderson, and the East ...
I get credit for being the first writer to publish a text about Jonathan Feldschuh's first one-person show in New York. Hundreds of other serious writers will follow my lead over the next decade.
Whether you like Damien Hirst's work or not, his show at the gigantic Larry Gagosian Gallery is a must-see this month. One of the most controversial artists working today, Damien Hirst is a powerful artist showing in a power gallery on the power block of Chelsea.
The great New York painter, Will Cotton, e-mailed me to say he had just seen a great Chardin show at the Met. Lucian Freud, the famous British figurative painter, recently scored some points with the press for his homage to a Chardin painting. He said he did not want to copy the Chardin: “I ...
There's a great new painter in Chelsea: Leemour Pelli. Hitherto, she's been known for haunting, translucent, rubbery relief sculptures of starkly exposed yet enigmatic human bodies and her latex casts of ornately framed mirrors which contain intriguing, personal, ghostlike portraits.
Many art dealers are not nice people. They can be pretentious, dishonest snobs. Fortunately for artists and collectors, they are no longer necessary. Thanks to the Internet, artists and collectors can now deal directly. But there's more to art than buying and selling.
Two years ago I had never heard of Inka Essenhigh. Now I am convinced that she is the best artist to have emerged within the last decade. She entered the art scene like a lightning bolt, appearing in numerous group shows, one-person shows (at Stefan Stux Gallery and Deitch Projects), a museum ...
Maurizio Cattelan is considered the best living Italian artist, according to art critics surveyed by Flash Art (Italian edition), when they compiled their top 100 in March 1999. Now, exactly one year later, at the Marian Goodman Gallery, New Yorkers can see for themselves what the fuss is all about.
The last time I saw a major Paik piece was a half decade ago or so at the Soho Guggenheim. A huge wall of hundreds of television monitors blasting the viewer with an endlessly fascinating, changing collage of sensuous imagery and bright colors. I stood mesmerized for hours. Well, maybe just ...