The New Criterion is probably more consistently worth reading than any other magazine in English.
On “John Szarkowski” at The San Francisco Museum of Modern Art.
was right!Support The
Attack, heightened nerves, a quivering alertness to patterns of relatedness, a tasteless (or taste-free) acquisitiveness … these are what I like and value most in modern American photography. Image-makers like Walker Evans and Edward Weston were artists with a sliver of ice in their hearts, but their images are fat with feeling, in part because they were impatient with cultivated delay and selectivity. They had a big appetite for visual information, and we see that drivenness in the tremendously poised immediacy of their language. The same appetite and drive race through the work of jumpier, more eruptive photographers like Garry Winogrand and Lee Friedlander, both unstoppable archivists of accident and happenstance. In such work discrimination seems beside the point.
The curator large ...
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This article originally appeared in The New Criterion, Volume 23 June 2005, on page 45
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by Karen Wilkin
On “Class Distinctions: Dutch Painting in the Age of Rembrandt and Vermeer” at the Museum of Fine Arts, Boston.
On “Beauté Congo 1926–2015” at the Fondation Cartier pour l’art contemporain, Paris.
by James Panero
On “Painting Is Not Doomed To Repeat Itself” at Hollis Taggart Galleries; “Checkered History: The Grid in Art & Life” at Outpost Artists Resources; “Tempos: Selected Works by Elizabeth Gourlay, 2013–2015” at Fox Gallery NYC; “Diphthong” at the Shirley Fiterman Art Center; “Todd Bienvenu: Exile on Bogart Street” at Life on Mars; “Occo Socko!” at Stout Projects.
The Walter Duranty Prize for Journalistic Mendacity
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