Brooks Adams

Opium for the Masses (Kouroi for the Few)

Lisa Liebmann and the Yves Saint Laurent/Pierre Bergé Sale

March 2009 PARIS

IT CANNOT HAVE BEEN A COINCIDENCE that the public viewing of the Yves Saint Laurent and Pierre Bergé Collection was slated for the height of what in Roman Catholic Europe is widely celebrated as Carnival Week, and that the auction itself, … READ ON


“Fame after Photography”

April 2008

In the wake of Di's death, MOMA'S photo chief, Peter Galassi, asked the freelance curators Carole Kismaric and Marvin Heiferman to conceptualize an exhibition exploring the complicitous relationship between photography and celebrity. Exploding… READ ON


Takashi Murakami

April 2008

At thirty-seven, Japanese artist Takashi Murakami is best known for his fiberglass sculpture My Lonesome Cowboy, 1998, which depicts a larger-than-life-size blond male sprite twirling a humongous jet of his own jissom as if it were a lasso.… READ ON


“Charlotte Perriand, Fernand Léger: une connivence”

April 2008

At the ripe young age of ninety-five, Charlotte Perriand is being fêted, not only for her own furniture designs but for her hand in the work of her mentor and collaborator Le Corbusier, including the “Grand Confort” armchair and his celebrated… READ ON


Philip Guston

April 2008

In 1958, the young Georg Baselitz saw “The New American Painting” in Berlin, and he was much taken by Philip Guston's work. Baselitz's “Heroes,” 1965-66, in turn anticipated Guston's late “smokers” and “drinkers.” The last time a major show… READ ON


“Transformations: The Art of Joan Brown”

April 2008

For years I’ve had a jones for Joan Brown’s ’70s work. The paintings—with their ham-fisted clarity, their relish for pattern and costume, their goofy hieratics and allegorizations, in those hip housepaint colors—hit me in the solar plexus. … READ ON

IN PRINT April 1999

“The Risk of Existence”

April 2008

For an artist, orchestrating a salon around your own most recent work is a traditional act of hubris that dates to the eighteenth century. It’s also contemporary practice, a way to indulge the fantasy of imposing order on the world, charting… READ ON

IN PRINT February 1999

James Fenton


April 2008

JAMES FENTON, FOR BETTER OR WORSE, is one of the main reasons I still read The New York Review of Books. His art journalism is both plainspoken and perverse, theory-free, zesty, and loose-limbed—at times, admittedly, to a fault. He ushers in… READ ON

IN PRINT January 1999

“Jim Dine: Walking Memory, 1959-69”

April 2008

Curated by Germano Celant and Clare Bell In the early ’90s, when talk at the Guggenheim turned to a full-blown Jim Dine retrospective, it didn’t sound like such a great idea. But now, with the focus on his early work, the moment feels right.… READ ON


Robert Rosenblum


March 2007

A pioneering critic of the past fifty years and a revisionist scholar of the preceding two hundred, Artforum contributing editor Robert Rosenblum will be remembered for the stunning breadth of his erudition and taste. In the issue, a trio of… READ ON

IN PRINT March 2007 [TOC]