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A Passion for Art, Watercolors and Works on Paper
December 7, 1991 - January 25, 1992 Press Release Selected Press Back to Exhibition List |
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The New Yorker
January 20, 1992
A PASSION FOR ART, watercolor and works on paper
December 7 - January 25, 1992
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The New Yorker, January 20, 1992
Shafrazi, 130 Prince St., A massive show, spanning the twentieth century, of works on paper - from Kandinsky to Nauman, Matisse to Artschwager. The works fall along the entire spectrum of quality from great to bad, with frequent stops at indifferent. Among the gems are Yves Klien body painting on paper and a beautiful Richard Linder, but many works seem included just for their signature. Picabia, in fact, is represented by nothing but his signature, with his name printed in smaller letters beneath it,as if that were his signature's signature; if this is a work of art, it is fascinating, but, then again, it might be just a signature. There are some charged moments in the installation, such as the juxtaposition of Leger and Baechler, but there are other times when the arrangement ruins the work, as in a clump of gestural drawings by Kline, Baselitz, Marden, and Rothenberg which collapse into inky mush. Through Jan. 25.
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January 20, 1992
A PASSION FOR ART, watercolor and works on paper
December 7 - January 25, 1992
________________________________________________________
The New Yorker, January 20, 1992
Shafrazi, 130 Prince St., A massive show, spanning the twentieth century, of works on paper - from Kandinsky to Nauman, Matisse to Artschwager. The works fall along the entire spectrum of quality from great to bad, with frequent stops at indifferent. Among the gems are Yves Klien body painting on paper and a beautiful Richard Linder, but many works seem included just for their signature. Picabia, in fact, is represented by nothing but his signature, with his name printed in smaller letters beneath it,as if that were his signature's signature; if this is a work of art, it is fascinating, but, then again, it might be just a signature. There are some charged moments in the installation, such as the juxtaposition of Leger and Baechler, but there are other times when the arrangement ruins the work, as in a clump of gestural drawings by Kline, Baselitz, Marden, and Rothenberg which collapse into inky mush. Through Jan. 25.
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