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FeaturesJune 1995 The “Pictographs of Adolph Gottlieb” by Karen Wilkin On "The Pictographs of Adolph Gottlieb” opened at the Brooklyn Museum, New York, on April 21, 1995, and remains on view through August 26 In the freeze-dried version of the history of American art, the kind familiar from survey courses and gallery tours, each artist of the New York School is identified with a single signature image: Pollock with an all-over tangle of poured paint, Rothko with stacked blocks of color, Kline with overscaled black-and-white brushstrokes, Newman with the “Zip”—a single narrow line—and so on. The name of Adolph Gottlieb (1903–1974) is synonymous with the “Burst”—a large, haloed disc hovering above an exuberant tangle of vigorous strokes. The equation is so neat that even among Gottlieb’s admirers, who should know better, Burst paintings are assumed to represent the artist best; I remember one serious collector telling me, moreover, that only the black, white, and red Bursts were worth considering. But when Gottlieb made the first of the Burst pictures, in 1957, he was fifty-four and ... This article is available to subscribers and for individual purchaseSubscribe to TNC (Print and Online editions) Subscribe to TNC (Online only) This article originally appeared in The New Criterion, Volume 13 June 1995, on page 15 Copyright © 2012 The New Criterion | www.newcriterion.com http://www.newcriterion.com/articles.cfm/The--ldquo-Pictographs-of-Adolph-Gottlieb-rdquo--4258
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by Karen Wilkin On “Rembrandt and Degas: Two Young Artists” at the Sterling and Francine Clark Art Institute, Williamstown, MA. by Karen Wilkin On "Stieglitz & His Artists" at the Metropolitan Museum of Art, New York. Marioni's liquid light at the Phillips by Karen Wilkin On “Eye to Eye: Joseph Marioni at the Phillips” at the Phillips Collection, Washington, DC. Christopher, for better & for worse On the critic, polemicist & raconteur Christopher Hitchens (1949–2011).
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