Isabelle Graw

  • “Abstract Expressionism in America”

    FOR FANS OF ABSTRACT EXPRESSIONISM, the journey to the small southwestern town of Kaiserslautern was worth the effort. There, the Pfalzgalerie played host to work little seen in Germany, by Helen Frankenthaler, Lee Krasner, Joan Mitchell, Elaine de Kooning, and Hedda Sterne. At first, the fact that the exhibition consisted entirely of women artists seems to have been downplayed by the curators, Britta E. Buhlmann and Annette Reich. The show's title made a gender-neutral impression; or was the curators' gambit simply to declare these artists central to the movement in order to draw more attention

  • Jeff Koons

    When I saw Jeff Koons’s new paintings, my initial thoughts turned to their presentation—the timing couldn’t have been better. These painted collages—exhibited to great effect, thanks to their billboard format, in the claustrophobic spaces of the Deutsche Guggenheim—fitted perfectly into a range of issues, from the ongoing visual-culture debate to the revival of photorealist painting. In addition, they implicitly demanded an engagement with the potential of so-called appropriation art of the ’80s, a potential that has so far been undervalued. In this connection, it is interesting