Yesterday during his Reddit AMA, New York‘s art critic Jerry Saltz was asked whether he would pay the $140 million for Francis Bacon’s Three Studies of Lucian Freud (1969), the way some person or group of people did at Christie’s Tuesday night. Mr. Saltz balked. “The Francis Bacon is completely predictable,” he, or some group of people transcribing his answers, wrote. “A middle-brow painting by a middle-brow painter painting another middle-brow painter.” Read More
In today’s Guardian, critic Jonathan Jones called Damien Hirst “a national disgrace, a living example that talent is nothing and money is king.” That brutal putdown is only the latest in a long line of attacks from art critics, particularly in the British press, that Mr. Hirst has endured over his long career. In honor of this latest sally, let’s take a look back at some of the provocative opinions—positive and negative—that have been offered about the artist over the years. Read More
Over the past year, a remarkable number of exhibitions at contemporary art galleries have paired new art with fin-de-siècle French painting. Among them were Algus Greenspon’s wonderfully eccentric hang of Odilon Redon and Dan Colen, Julia Margaret Cameron and Kai Altoff in “Invitation to the Voyage” last fall, Andrew Kreps’s smart take on Pierre Bonnard and Édouard Vuillard in January’s “Interiors,” the kitschy, Playboy-sponsored “Giverny” by E.V. Day and Kembra Pfahler at the Hole, and “À Rebours,” the Symbolist-macho premiere of Observer contributor Adam Lindemann’s new Venus on Manhattan gallery. Read More
Below, a few picks from recent writing.
Christian Viveros-Fauné takes a look at three artists interested in an “aesthetics of decline—a gathering movement that features artists and other creators shedding the mode of bling for blight”: Joyce Pensato (whose show my colleague Will Heinrich reviewed last week), Marianne Vitalle (profiled here by Michael H. Miller) and Rashid Johnson (also profiled by Mr. Miller). [VV] Read More