Molly Warnock

Molly Warnock

June 2015

WRITING IN 1966, Ann Wilson noted the ways in which Agnes Martin’s paintings “seem to grow out of the fabric” of the underlying support. The critic meant to stress the extent to which artistic process appears effaced, aesthetic subjectivity… READ ON

IN PRINT Summer 2015 [TOC]

James Bishop

December 2014

This thoughtfully selected, beautifully installed show of James Bishop’s work—his first solo exhibition in New York since 1987—opened with four small paintings, all from 2012, of the sort to which the eighty-seven-year-old artist has … READ ON

IN PRINT December 2014 [TOC]


Molly Warnock on Michel Parmentier’s 16 juillet 1988

November 2014

AT FIRST GLANCE, they seem self-evident: The best-known works of the French painter Michel Parmentier appear so clear, so direct, so whole, as to be their own last word. The artist began making these impassive horizontally striped paintings… READ ON

IN PRINT November 2014 [TOC]


January 2014

BY HIS OWN ESTIMATION, the American painter James Bishop never could do a “sixties painting in the Greenbergian sense.”1 Yet in the late 1960s and ’70s, when Bishop was living in France at midcareer, his work offered a central reference… READ ON

IN PRINT January 2014 [TOC]

Simon Hantaï

September 2013

SIMON HANTAÏ IS OFTEN PRESENTED as Europe’s answer to Jackson Pollock: The Hungarian-born French painter was among the first on the Continent to notice and take seriously Pollock’s painting, and the abstract canvases he produced over a… READ ON

IN PRINT September 2013 [TOC]

Simon HantaÏ

May 2013

Curated by Dominique Fourcade, Isabelle Monod-Fontaine, and Alfred Pacquement At the time of his death, Hungarian-born French painter Simon Hantaï (1922–2008) left behind one of the most challenging, diverse, and—as he emphasized—willfully… READ ON



Molly Warnock on Simon Hantaï’s Étude, 1969

October 2012

AUTOMATIC WRITING: That’s one name, if not the least tendentious, one might consider for the fine lines that appear here and there in the whites of Simon Hantaï’s Étude, a stunning painting of 1969 that has just entered the collection… READ ON

IN PRINT October 2012 [TOC]

“Displace, Disclose, Discover: Acts of Painting, 1960–1999”

October 2012

“THE FRENCH TALKED SUCH NONSENSE.” This is Clement Greenberg in 1968, as interviewed by Edward Lucie-Smith. The remark comes among a set of judgments about the international reception of postwar American painting: Although the first to … READ ON

IN PRINT October 2012 [TOC]

“Displace, Disclose, Discover: Acts of Painting, 1960/1999”

January 2012

Curated by Marc Donnadieu A decade ago, “As Painting: Division and Displacement”—a revelatory show at the Wexner Center for the Arts—foregrounded the vitality of French painting following the New York scene’s storied theft of modern… READ ON


“de Kooning: A Retrospective”

September 2011

Whether taken to be a modernist painter pledged to sculptural volumes or an action painter enamored of old masters, Willem de Kooning has never fit comfortably within the dominant narratives of gestural abstraction.… READ ON