When you’re sitting inside Alex Katz’s studio, a spacious, light-filled fifth-floor loft on West Broadway, it’s easy to forget the bustling streets below.
What you might expect to read next is that the 84-year-old painter, whose bald pate and sinewy build lend him a monk-like aspect, who has lived and worked in this space since 1968, when Soho was an industrial slum—before the artists arrived, before the galleries moved in, and before retail forced them all out—leads an isolated life, toiling away at his canvases, far above the fray, immune to any sense of competition.
Recycle, reuse, conserve, go green, go organic—all the exhortations of today’s pop-environmentalism—have been anticipated by artists, as two current exhibitions prove.
1. SLEEPING 2. EATING 3. KEEPING WARM. As declarations of priority go, B. Wurtz’s handwritten list Three Important Things (1973) is disarmingly modest, and emblematic of his down-home style. While numerous artists have salvaged Read More
Soho Eckstein, South African artist William Kentridge’s self-portrait as beneficiary of white privilege, is feeling nostalgic for the clarity of a well-turned lie. Eckstein, as always, remains in Johannesburg, but Mr. Kentridge’s latest stop-motion animated portrait of him is playing at Marian Goodman Gallery in New York.
Onto the film’s title, “Other Faces,” fall two Read More
On a brisk but sunny Saturday afternoon, Gavin Brown’s art gallery seemed the only hub of activity on the quiet, semi-industrial and more-or-less deserted Greenwich Street on the far West Side of Lower Manhattan. Despite Chelsea-esque white walls, poured concrete floors and two gallerinas up front, the space had its own offbeat character—from its relatively Read More
At the Election Night party at Gavin Brown‘s Enterprise gallery, on Greenwich and Leroy streets in the West Village, balloons are attached to the ceiling. If Barack Obama wins tonight, they’ll be released onto the floor. If he loses, they’ll be left to slowly deflate.
Mr. Brown is British and can’t vote here. Still, he Read More
In the current issue of New York, art critic Jerry Saltz reviews the new Urs Fischer exhibit at Gavin Brown‘s gallery in Greenwich Village.
The installation is described as "[a] 38-foot-by-30-foot crater, eight feet deep," which "extends almost to the walls of the gallery, surrounded by a fourteen-inch ledge of concrete floor." Read More
Forty-year-old art dealer Kenny Schachter took in the Spartan splendor of his new Greenwich Village art gallery and smiled an infectious smile. Uptown in Chelsea, and on the East Side, things were looking grim. From Mr. Schachter’s perspective, the mood reminded him of the early 90′s, when scores of galleries went bankrupt and hundreds of Read More