Molly Warnock

1000 WORDS: PIETER SCHOOLWERTH

January 2017

PIETER SCHOOLWERTH has always played around with words, and the title of his current project is no exception. As the artist readily acknowledges, “Model as Painting,” 2016–, immediately conjures Painting as Model, Yve-Alain Bois’s classic … READ ON

IN PRINT January 2017 [TOC]

Molly Warnock

April 2016

Yve-Alain Bois, Ellsworth Kelly: Catalogue Raisonné of Paintings, Reliefs, and Sculpture, Volume One, 1940–1953. Paris: Cahiers d’Art, 2015. 383 pages.  LIKE MOST READERS, presumably, I come to this impressive tome—Yve-Alain Bois’s first … READ ON

IN PRINT April 2016 [TOC]

Niele Toroni

October 2015

CHUTES, 2000, a little-known work by legendary Swiss artist Niele Toroni, consists of four pennant-like fragments of blue, red, pink, and black paper marked according to the method he adopted in 1966: by pressing the bristles of a no. 50 … READ ON

IN PRINT October 2015 [TOC]

Giorgio Griffa

September 2015

IT HAS BEEN more than fifty years since Donald Judd famously declared “European art” over and done with. The American artist’s pronouncement, voiced in an oft-cited 1964 conversation with Bruce Glaser and Frank Stella and grounded in his … READ ON

IN PRINT September 2015 [TOC]

Simon Hantaļ

September 2015

This posthumous solo show, Simon Hantaï’s first at Mnuchin Gallery, offered a clear indication of the Hungarian-born French painter’s growing status in New York. Cocurated by Alfred Pacquement—the former Musée National d’Art Moderne director… READ ON

IN PRINT September 2015 [TOC]

“What We Call Love: From Surrealism To Now”

September 2015

Curated by Christine Macel and Rachael Thomas Wittgenstein famously noted that love is not a sensation but a disposition; it is “put to the test” in ways that the feeling of pain, for instance, is not. This sweeping survey proposes to further… READ ON

PREVIEWS

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 devoted… READ ON

IN PRINT December 2014 [TOC]

CLOSE-UP: NEUTRAL SOLUTION

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]

FIELD AGENT: THE ART OF JAMES BISHOP

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 for… READ ON

IN PRINT January 2014 [TOC]