These belong in the Whitney.
Whatever "outsider" means.
What makes this show so ravishing is, improbably, that it’s arranged like an art-history-class slideshow time line.
She described it as "amazing." So much for her art-history background.
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.
And four other equally pertinent questions.
Clint Eastwood pioneered a new genre of performance art, the Met examined the dawn of Egyptian art, and more.
One guy in Jersey knew how.
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.
You think high technology obliterates the touch of an artist’s hand? Guyton disagrees.
There’s a shallow, pandering fecklessness to this pseudo-extravaganza.
"An elephantine influence."
The art critic vs. the film critic.
"From where I sit, the whole thing stinks."
"In 1998, Artnet was the site that convinced me that if my writing didn't exist online, it didn't exist at all."
The art world ignored him. But he did what artists do: made something all his own.
Most of what I saw at Documenta is weak stuff. But then I got a glimpse of art’s future.
The artist retraces his steps — but doesn’t follow them.
The upside of English elitism.
Not just because they're freak-show legal casinos.
But would you expect any less from the guy?
"The reason the art world doesn't love Kinkade isn't that it hates love, life, goodness, or God."
"Luminescent color flecks that make it look like a million-eyed being from another dimension."