Maika Pollack

On View

Garry Winogrand at the Metropolitan Museum of Art and ‘The Photographic Object, 1970’ at Hauser & Wirth

'New York' (1950) by Winogrand. (© The Estate of Garry Winogrand, courtesy Fraenkel Gallery, San Francisco)

It’s been 25 years since the last Garry Winogrand retrospective, and now is a great time to reflect on his polarizing photography. Through Winogrand’s prints, the current divide between what might be called “abstract” and “street” photography can be brought into clearer focus. This posthumous display of new work presents Winogrand as the father of the photography taught in many MFA programs across the country—a practice in which taking a picture means capturing what happens in front of a lens. Read More

Koons Kountdown 2014

Not a Koons Person

Jeff Koons, 'Aqui Bacardi,' 1986. (©Jeff  Koons)

This summer, we can divide ourselves into two camps: the Koons people and those who do not care for Koons. I’m not a Koons person. Walking through his retrospective at the Whitney, which spans four decades of his career in New York and occupies the entire museum, the work did not raise my pulse. The show is handsomely curated, to be sure. The lower floor is thick with the early appropriation and readymade works. One level up are Mr. Koons’ mid-career sculptures, while the top floor is a vast temple of gigantic kitsch toys and gleaming sculpture. This stuff is, you may have heard, expensive. Yet I walked through the vast monographic show without getting that tug of acquisitiveness that sometimes plucks me in front of, say, a Goya, or a Schwitters. Read More

On View

‘A Dialogue With Nature: Romantic Landscapes From Britain and Germany’ at the Morgan Library & Museum

'Lucerne From the Lake' () by Turner. (Courtesy the Morgan Library & Museum)

Summer may bring you stretches in the Swiss Alps, weeks on Nantucket, or just a day at Rockaway beach, but for while you are in town, this exhibit—organized by Matthew Hargraves of the Yale Center for British Art, Rachel Sloan from the Courtauld, and Jennifer Tonkovich, now the Morgan Library & Museum’s newly endowed Eugene and Clare Thaw Curator of Drawings and Prints—emphasizes the almost spiritual effects of getting out into nature through some 30 landscapes by 18th- and 19th-century British and German artists.  Lapidary works on paper by familiar romantic artists like J.M.W. Turner, Caspar David Friedrich and Thomas Gainsborough depict the natural world with giddy verve. Read More

On View

‘Under the Same Sun: Art From Latin America Today’ at the Guggenheim

'A ∩ B ∩ C' (2013) by Amalia Pica. (Photo by Daniela Uribe, courtesy the artist, Marc Foxx Gallery and Museo Tamayo Arte Contemporáneo)

The Guggenheim’s exhibition of works recently acquired from Latin American artists is of great interest, not solely because of the art it puts on view, but also because of the various ways in which that art’s politics rub up against the ambitions of global art museums like the Guggenheim and large corporations like the show’s sponsor.

On display are works by 40 artists from some 15 countries in Latin America, including Argentina, Bolivia, Brazil, Chile, Colombia, Costa Rica, Cuba, Guatemala, Honduras, Mexico, Panama, Peru, Uruguay and Venezuela. A similar show at the Guggenheim last year covered acquisitions of art from South and South-East Asia; the next installation, in 2015, will encompass art from the Middle East and North Africa. Read More

On View

‘When the Stars Begin to Fall: Imagination and the American South’ at the Studio Museum in Harlem

Video still of 'Billy Sings Amazing Grace' (2013–14) by Theaser Gates. (Courtesy the artist/Studio Museum)

This powerful group show features the work of several generations of African-American artists on the theme of the American South and visionary experience. Curated by Studio Museum assistant curator Thomas J. Lax, it provides viewers with precisely what the recently closed Whitney Biennial failed to deliver: a strong sense that something of interest is going on in American art. Read More

On View

‘Mel Bochner: Strong Language’ at the Jewish Museum

'Dollar Hash Exclamation Plus' (2011) by Bochner. (©Mel Bochner, courtesy the artist and Peter Freeman)

Mel Bochner is certifiably a smart artist—he cites Ludwig Wittgenstein in his catalog texts, and the philosopher Stanley Cavell has written about his work. He was a pioneer of conceptual art photography and in the 1960s used new media to elegant effect. His first job in New York, in 1964, was as a guard at the Jewish Museum, so it is fitting that that museum should host this handsomely curated survey of his work. Read More

On View

‘Life in Death: Still Lifes and Select Masterworks of Chaim Soutine’ at Paul Kasmin Gallery

'Plucked Goose' (1932–33) by Soutine. (Courtesy Kasmin Gallery)

This small, museum-quality show, organized by scholars Esti Dunow and Maurice Tuchman, is composed of just 16 paintings. All are loans from private collections, and none, miraculously, are for sale. Many are being shown for the first time since Russian-Jewish painter Chaim Soutine’s 1950 MoMA retrospective. Soutine is a painter’s painter, and it is worth going to Kasmin to see in person his particular mastery of the medium. Read More

On View

‘Lygia Clark: The Abandonment of Art, 1948–1988’ at the Museum of Modern Art

'Planes in Modulated Surface 4' (1957) by Clark. (Courtesy MoMA)

An overdue retrospective of the paintings, drawings, sculptures and participatory artworks of Lygia Clark, curated by Luis Pérez-Oramas and Connie Butler, fills in the gaps in our understanding of the Brazilian artist’s work and brings out its continued radicality. Ms. Clark is often represented in exhibitions through her sculptures entitled Bichos (creatures), made from 1959 to 1966. She is accused of “abandoning” art in the late 1960s for object-based psychoanalysis. This career-spanning survey of 300 works from late 1940s to early 1980s takes us beyond her most iconic work to better understand her project as a whole and reunites the later performance and participatory projects with Ms. Clark’s earlier paintings and sculptures. Read More

On View

‘Carl Andre: Sculpture as Place, 1958–2010’ at Dia:Beacon

Installation view. (© Carl Andre/Licensed by VAGA, New York, NY. Photo by Bill Jacobson Studio, New York. Courtesy Dia Art Foundation, New York)

Wear shoes you like to the Carl Andre show that just opened at Dia:Beacon. You’ll be looking at them a lot. From Mr. Andre’s trademark checkerboard copper or steel floor pieces to less-familiar works like Sand-Lime Instar (1966), in which you walk through eight low arrangements of white bricks, the average height of works in the show is around 3 inches, and your gaze is often focused downward. Read More