The New Criterion is probably more consistently worth reading than any other magazine in English.
On "Go F!GURE: Contemporary Chinese Portraiture” at the National Portrait Gallery, Canberra, Australia.
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"GO F!GURE” means go figure it out, for this exhibition is not so much one of portraiture in the conventional sense, as of Chinese figures, the human form as depicted by contemporary Chinese artists in painting, photography, sculpture, and video. The curators are to be congratulated on the skill with which they have selected and displayed these varied works.
One pleasing feature of the exhibition is the indirect mockery of the rule of the Chinese communist party and of the icons of its Maoist origins. The grotesque sculpture Cadre by Keping Wang is carved from a piece of found wood, using the grain to shape the nose and indicate the eyes. It is a portrait of an utterly anonymous party official, who has no face with which to express feeling, and no mouth with which to utter an opinion of his own. Just as irreverent is Xuan Kan’s video Chorus, which stars two sets of toes, each toe ...
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This article originally appeared in The New Criterion, Volume 31 February 2013, on page 46
Copyright © 2015 The New Criterion | www.newcriterion.comhttp://www.newcriterion.com/articles.cfm/Exhibition-note-7553
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On “Love Bites: Caricatures by James Gillray” at the Ashmolean Museum, Oxford.
On "Rubens and His Legacy: Van Dyck to Cézanne” at the Royal Academy of Arts, London.
by Karen Wilkin
On “One-Way Ticket: Jacob Lawrence’s Migration Series and Other Visions of the Great Movement North" at MOMA and “Struggle . . . From The History of the American People” at the Phillips Collection.
by Mario Naves
On "Trenton Doyle Hancock: Skin and Bones, 20 Years of Drawing” at the Studio Museum, Harlem.
by Marco Grassi
On “Sculpture in the Age of Donatello" at The Museum of Biblical Art.
The Walter Duranty Prize for Journalistic Mendacity
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