By Christine Mehring
Following on the heels of his signature photorealist blurs, Gerhard Richter’s abstract paintings have long exemplified a “permanent break in style as principle of style,” as Klaus Honnef noted in the artist’s first retrospective catalogue in 1969.
By Louise Fishman and Carrie Moyer
This all came to me in the last couple of weeks. In the late 1980s, early 1990s, my partner and I had gone to Madrid to see the big Velázquez retrospective. I’d never been to the Prado. I spent a lot of time looking at the Velázquez and wandering around the museum. Eventually I found Goya’s Black Paintings.
By Josephine Halvorson
The nineteenth-century painter Samuel Palmer lived within two hundred yards of the cemetery, making drawings, notes, and paintings in what he called the Valley of Visions in an effort to “bring up a mystic glimmer.” Sinclair, London Orbital Acid rain has eroded the words. Lichens, like Van Gogh blooms in orange and yellow, cling to the mauve stone.
By Gregory H. Williams
During the past decade a steady flow of critical writing on contemporary painting has appeared, much of it seeking to define changes to the practice that have taken place since 1990. In several often-cited essays, a shared theme has emerged in which late-twentieth-century painting is described as undergoing a crisis of containment.
By Luke Smythe
Copied from a small and fuzzy photograph clipped from a newspaper in 2003, Gerhard Richter’s Silikat paintings depict a honeycomb array of silicate particles, modeled on the structure of a butterfly wing.
By Joshua Shannon
Anyone seeking a crisp argument for the importance of contemporary art history should welcome the introduction of Hal Foster’s latest book, The First Pop Age. Foster justifies his careful look back at five key Pop artists by persuasively arguing that their work reveals and investigates a new stage, ascendant in the early 1960s, in the history of capitalist culture.
By Suzaan Boettger
Ends of the Earth: Land Art to 1974, the bold title of the exhibition and catalogue organized by the Museum of Contemporary Art, Los Angeles, and on view there in 2012 and later at Munich’s Haus der Kunst, evokes the grand ambitions of artists’ environmental imaginations in the early 1970s.
By Mechtild Widrich
Should we judge a book by its cover? The image on the front of the massive new publication on a taboo-breaking group of Austrian postwar artists shows a crowd of people gazing, some with obvious disapproval, into the camera. Among them we see policemen —something has happened or is about to, a crime perhaps—but we cannot see what has given rise to the incident.
By Barry Schwabsky
John Roberts is one of the more original and independent thinkers among contemporary art historians, and his wide-ranging reflections often take him well outside the boundaries of the discipline. In fact, he sometimes seems at pains to obscure what might be called the art-historical use-value of his work in order to underline its broader implications; he prefers to be seen, it appears, as a sort of unlicensed philosopher.
By Katy Siegel
Perhaps minor among reasons to celebrate the fact that the world did not end as predicted on 12.12.12 is that Art Journal is a little behind in its publication schedule.
By Chris Balaschak
In 1969 Winogrand published The Animals alongside an exhibition of the same name at the Museum of Modern Art, New York (MoMA). Though it has never been seen as such, it was a timely project, and represents a satire of American society during the height of a war “unassimilable” by popular culture.
By Karen L. Schiff
Finally—a book of criticism about Agnes Martin. No other book of writing about this singular, revered artist has been in print for many years. And though Martin (1912–2004) has been an esteemed presence in the art world since at least the early 1960s, there exists no monograph, no biography, no previous collection of criticism.
