Browse Recent Exhibition Reviews

Co-organized by the National Gallery of Art and the Kimbell Art Museum, Gustave Caillebotte: The Painter’s Eye presents fifty canvases produced during the period when the artist was most directly engaged with the Impressionist group, between 1875 and the early 1880s. These were the years, according to curators Mary Morton and George Shackelford, when Gustave Caillebotte was at his best—when he was still living in Paris and closely connected with artists like Auguste Renoir and Edgar Degas. Yet, notably, the exhibition does not include the word “Impressionist” in its title. By contrast, in previous Caillebotte shows, the term has played… Full Review

Alex Katz, This Is Now offers a refreshing look at Katz’s landscapes, which, as the exhibition clearly demonstrates, have occupied the artist throughout his career. Those primarily familiar with Katz’s figurative work and portraiture, subjects for which he is arguably best known, discover another, important aspect of Katz’s oeuvre, one that does not entirely leave the figures behind, while those already knowledgeable about his landscapes enjoy compelling compositions and provocative pairings that deepen an appreciation of the artist’s achievements in this genre. Wieland Family Curator of Modern and Contemporary Art Michael Rooks brings together around fifty paintings, from… Full Review

Visitors to the exhibition Discovering the Impressionists: Paul Durand-Ruel and the New Painting at the Philadelphia Museum of Art were funneled through a darkened passageway bordered by two fictive windows through which one glimpsed large archival photographs of two of Paul Durand-Ruel’s major galleries. On the left was his Paris establishment from 1869 until 1882 at 16 rue Laffitte, while on the right was his first New York branch on Fifth Avenue, opened in 1887, and a testament to the dealer’s ambitious foray into the international market. Once past this threshold, museumgoers were greeted by an 1866 portrait of a… Full Review

Mexico City-based Belgian artist Francis Alÿs has long been interested in socio-political issues stemming from territory and displacement within marginalized communities, as witnessed through the vestiges of immigration, natural disasters, and warfare. Thus, it is no surprise that these themes feature prominently in three projects in his major solo exhibition, A Story of Negotiation, curated by Cuauhtémoc Medina and beautifully displayed at the Museo Tamayo. Installed in three generously sized white-cube spaces, Don’t Cross the Bridge Before You Get to the River (2008), Tornado (2000–2010), and Reel-Unreel (2011) consist of a symbiotic relationship between the artist’s chosen mediums of… Full Review

Organized around twenty-three chapters, each of which takes its name from the title of an artwork included in that section, America Is Hard to See, the inaugural exhibition in the Whitney Museum of American Art’s new building, jettisoned a purely chronological or conventional art-movement “ism” organizational structure in favor of a thematic one. The result challenged traditional (one might say, outmoded) categories of art history and created unexpected juxtapositions that pushed viewers to understand that history—and the history of the United States—in fresh ways. The exhibition does move in linear fashion from the eighth floor to the fifth; but… Full Review

Nestled in a small gallery in the Ahmanson Building of the Los Angeles County Museum of Art (LACMA) and timed to coincide with the museum’s fiftieth anniversary, From the Archives: Art and Technology at LACMA, 1967–1971 offers viewers new insights into one of the institution’s most legendary curatorial endeavors. Organized by Associate Curator Jennifer King, From the Archives draws from various institutional holdings in order to reflect on how, by linking the visual arts to an expansive nexus of economic and political concern (the aerospace companies, movie studios, and industrial conglomerates that powered the greater Los Angeles region during the… Full Review

Power and Pathos: Bronze Sculpture of the Hellenistic World, curated by Jens M. Daehner and Kenneth Lapatin, opens with an empty limestone base from Corinth featuring cuttings for the feet of a bronze figure and inscribed “Lysippos made [this].” In his Natural History (34.37), Pliny credits Lysippos with creating 1,500 bronze statues, none of which have survived. The base serves as a stark reminder of how few large-scale bronze sculptures remain today while also presaging themes explored in this remarkable exhibition. The Hellenistic period stretched from the late fourth-century BCE reign of Alexander the Great until the rise of… Full Review

The experience of seeing Andrea Zittel’s recent exhibition at the newly opened Architecture and Design Center at the Palm Springs Art Museum is probably somewhat unusual given what many of us have come to expect of contemporary art shows in prominent art-world epicenters. The space, for one thing, is a repurposed bank originally designed in 1961 by the beloved local architect E. Stewart Williams, and its recent renovation by the Los Angeles-based firm Marmol Radziner leaves intact such features as the vault (now home to a small gift shop) and a drive-up window that juts unobtrusively into the exhibition area… Full Review

Divine Desire: Printmaking, Mythology, and the Birth of the Baroque at the San Diego Museum of Art was an exhibition of over seventy late sixteenth- and early seventeenth-century Netherlandish engraved prints, mostly by Hendrick Goltzius (1558–1617), his pupil and stepson Jacob Matham (1571–1631), and student Jan Pietersz Saenredam (1565–1607). The subject matter of the prints is predominantly mythological and secular, apart from a series on the virtues and vices. In selecting this subject matter, curator Michael A. Brown complemented material presented in another local exhibition, that of Goltzius’s sacred prints held in 2013–14 at the Crocker Art Museum and University… Full Review

Picturing the World: Painting at the 56th Venice Biennale Plenty has already been written about the daily recitations of Karl Marx’s Das Kapital at the 56th Venice Biennale, a gesture that served to recapitulate our nervous twitching about art and money. Across the grand swath of global art on display, there were indeed many compelling moments pointing to capitalism as the hoary culprit in our world of excess and inequity. Typically, at the heart of such claims in relation to the art world one finds the medium of painting. With its easel format, its desirability as status and… Full Review