"I wanted to run my tongue on a couple of the paintings."
He’s a risky subject for the Guggenheim, one that might alienate wide audiences and critics alike.
Few artists have brought play, presence, magnitude, hostility, and pleasure into such close proximity.
Safe, fake transgression is all over Chelsea these days. And then there’s Bjarne Melgaard.
The new installation presents us with a much more coherent, legible vision of one of the great achievements of world civilization.
New Paintings and Sculpture at the Gagosian Gallery and Gazing Ball at David Zwirner.
A bracing look at the first war that was conducted in front of the camera's cold eye.
We see a few painters blowing up every convention there was.
Take the day off and park yourself in front of his Virgin and Child.
When new art became modern art.
What makes this show so ravishing is, improbably, that it’s arranged like an art-history-class slideshow time line.
Saltz: MoMA’s Inventing Abstraction Is Illuminating—Although It Shines That Light Mighty Selectively
Insiders will go gaga here. But I wonder whether larger audiences will grasp the way this kind of art thrust itself to the fore in the West.
Yes, but it unintentionally reveals something about the artist.
How he finally won over our art critic.
Brilliantly conceived and installed by Carmen Giménez, the Guggenheim's show zeroes in on Picasso’s use of black and white and gray.
The Munch that ate New York.