reviews

  • “Collage and the Photo Image”

    MoMA - The Museum of Modern Art

    “Collage and the Photo Image” is a classic (meaning typical) Museum of Modern Art small survey show from its own collections. Most of the work in it is already familiar, and could have been predicted to be in a MOMA show with such a title. Thus it is no surprise that a show of this kind includes works by Man Ray, Marcel Duchamp, Max Ernst, Heartfield, Moholy-Nagy, and Christo, etc. George Grosz’s The Engineer Heartfield was a surprise only because I had never noticed its collage elements, which is to confess never having paid much attention to it. Interesting for me in this show was the category

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  • Richard Francisco

    Betty Parsons Gallery

    Richard Francisco’s work, like that of Don Johnson to some extent, indirectly plugs into the traditions of Joseph Cornell, Lucas Samaras, and H.C. Westermann, and more directly into the work of William Wiley, which by now seems almost to mean the San Francisco tradition. This doesn’t say much about Francisco’s work except to roughly describe the sort of work he does. The primary difference between Francisco’s works and the works of those artists mentioned, with the exception of Cornell, is in its subtlety and delicacy. Francisco’s works are physically delicate, minute, and lightweight. There is

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  • Claude Yvel and Henri Cadiou

    New York Cultural Center

    The Museum of Modern Art’s modest exhibition “Collage and the Photo Image” seems to have been mounted as a pleasant way to pass the summer, but it forms a surprisingly effective confutation of a dead serious, reactively polemical exhibition at the New York Cultural Center, “Reality and Trompe-L’oeil,” “by French New Real Painters.” The French New Real Painters are but four in number, and of the four Claude Yvel gets the most space and makes the catalogue statement. Those paintings in the show that are not a direct ripoff of Harnett, Peto, and 19th-century American trompe-l’oeil painting in

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